Date de création: 2003
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- other
- development - updating African culture and making it relevant for the modern world and globalisation, linking it with devepment issues.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- editing - identifying negatives aspects and recommening appropriate action

Pays principaux d'activité:

Kenya

Objectifs:
African Cultural Regeneration Institute (ACRI), aims at promoting African culture by way of identifying relevant indigenous cultural values that Africa can use for her own development today as well as for lending to the emerging global family, by way of Basic Education
The observed reality of the world today appears to vindicate the following assumptions:
 The values ruling the international communities presently are dominated by the philosophy of materialism, which is essentially a western cultural element. This materialism does not seem adequate as a value for guiding the global international family.
 Some values based on the African heritage could be very useful in helping Africa find it's own way inside out and shape the emerging global family with inputs that are not necessarily materialistic.
 It is possible to study the various aspects of the African culture, extract relevant elements that may be useful in guiding Africa and the world. Then these values would be packaged by way of writing, filming, videotaping and other methods, including performance and cultural centres, then present them to the world for global enrichment.
 Africa's emerging generation will have what to fall back to when they realise the damage that may have been done on them by cultural alienation. This imperative is equally pertinent to the Africans lost in the Diaspora.

The efforts of ACRI are geared to highlighting the existence of the different facets of African culture and to go further on and recommend the retention and/or rejection of certain aspects of the negative culture.

The approach of ACRI envisions results that will benefit not only Africa, par excellence, but the world at large. We may say also that African cultures are automatically being integrated into the global civilisation through varied human interaction. A deliberate scientific extraction, to highlight and refine certain important values, philosophies, viewpoints, and visions, which characterised the soul of the traditional African societies, has not been done. This is what makes ACRI unique; it will establish African cultural mines for extracting cultural gems from traditional spiritual values
Activités:
#1Today a suitable location and piece of land (about 8 acres) is identified by ACRI to the North-East of Mount Kenya, adjacent to the traditional convention centre of the Meru people, a place rich with Meru African cultural history, since 1842 A.D., NCHIRU- Kunene, when the first Meru constitutional conference was made. The Ameru Cultural Centre (ACCAW) is planned to coordinate all cultural activities of the Ameru people, recognise them and promote them, making effort to marry the past and the present cultural history, manufacture traditional cultural instruments and create employment industries; building technologies in games, dances, foods, drinks, plants and traditional medicines; and promoting modern technology transfer in order to add value to traditional culture by way of printed materials, audio and video recordings, and film making.
#2NJURINCEKE (traditional council of elders) has been resurrected and uplifted as a cultural entity, outreaching all parts of Meru land; model for good governance and African democracy. NjuriNceke recently advised youths of Meru against misbehaviour during post election violence in Kenya at the beginning of 2008.
#3Local language Radio service, Muga-FM, was established 2005, transmitting cultural values to every corner of Meru. The communities appreciate KiMeru service because every member of community is thereby informed and entertained.
#4Cultural Festivals have been started: Songs, foods, Drinks and Traditional medicines promoted. Research into Ameru cultural traditional instruments is in progress.
#5Writing of books has been made on the Ameru culture, e.g., Miturire ya Ameru (Meru traditional lifestyles) by Gitobu Rinyiru, and translation of the work into English is in progress, by Prof F.X. Gichuru, making it accessible to global community; and Doctoral Thesis by Gaita Baikiao entitled “Towards Africanization of Christianity“.
#6Local language paper, BATWI AMERU, is now in circulation since December 2008, and will reach every corner of Meru land. Issue 2 is under preparation in March 2009. Paper treats actualities, Meru traditional lifestyles, language, and other aspects of Meru culture, including environment.
#7MERU UNIVERSITY OF SCIENCE & TECHNOLOGY (MUST) is being promoted by Njuri-Nceke, which spans 10 Districts; University was conceived in 1960 after Mau Mau War of Independence, and now it is materialising due to efforts of ACRI.
#8African Traditional Medicine is being promoted by ATDAM (Ameru Traditional Doctors of African Medicine).
#9Ka’Meru International Foundation programme is established to dig up cultural history, dynasties and relationships in Meru. There is an effort to rehabilitate orphaned and destitute children, including the disabled.
#10Nkirote cia Kiao Women Group in the spirit of African culture is organised to promote development perspectives and employment in food production, dairy animals, chicken, honey, in order to fight against HIV/AIDS, and to promote marketing.
#11Locating and studying of traditional resource materials as in Nkacii, Kunati, & Kaongo (for cooking pots & related earthenware) is underway.
#12Educating all on traditional foods, i.e. vegetables, bananas, cassava, millets and yams with 13 varieties, actively being promoted.
#13AMKA GROOVE AFRICA (2006) –Attempt to assist the youth and street children create jobs for themselves through organised dances based on globalised African culture .
The personel and executive members of ACRI include:
1. Prof. F.X. Gichuru, Ph.D. (1982) – Founder Chairman of ACRI. Has been professor of Education and Senior Research Fellow at Kenyatta University. Wrote "Etapes de l'education en Afrique traditionnelle" in Cahier de pedagogie africaine, 1977, Bordeaux II; Has worked relentlessly to see that ACRI comes to fruition.
2. Dr. Gaita Baikiao, Ph.D. – An ardent promoter of African culture. His Ph.D. thesis was entitled Towards Africanisation of Christianity (1977). Has been instrumental in revival of Njuri-Nceke, the traditional Council of Elders of Meru, which today acts as the moral authority of the Ameru; in the past it was the government. Baikiao has promoted activities in Meru aiming at making Africans proud of themselves. He taught Anthropology, History and Religion at the Kenya Methodist University.
3. Mr. Michael Gitobu Mwirichia, Director of Culture, Njuri-Ncheke Council of Elders, Meru. He was Civic leader in the Meru Municipal Council in the 1970s; has written a book on Meru history and lifestyles, Miturire na Mikarire ya Ameru Karaaja (2000). He believes that the African Culture has a lot to offer to the world.
4. Ms. Easter Kaimuri Ciombaine,(B.Ed.) 2004, A young graduate who believes in the revival of the best of the African Culture; has worked for the establishment of the African Cultural Regeneration Institute since 2003; represents the youthful generation who care about the values of the past
Coopération:
Njurinceke is the traditional Council of Elders, almost destroyed by colonialists but saved through the efforts Dr Gaita Baikiao, a director of ACRI. Other officials of ACRI belonging and guiding Njurinceke are Prof Francis Gichuru, an initiated Elder of Njurinceke, and Michael Rinyiru, Director of Culture of Njurinceke. The role of Njurinceke since the start of the Meru community was to preserve the cohesiveness of the people of Meru, the territorial integrity, ensure proper governance of the society with justice and fairness to all, protect the weak and vulnerable especially women and children, and act as guardians of culture and identity. With the coming of the colonialists, Njurinceke was suppressed and weakened so that the invader could alienate the land and the people.

When Gaita Baikiao finished his doctorate in 1977 at Universitas Urbaniana in Rome, having studied social anthropology among other studies, he came back to Kenya and found that Njurinceke was dying, and the meeting spaces reserved for the elders were about to be alienated by land-grabbers because the organisation had no certificate of registration. He quickly organised documentary registration for purposes of allocation of the traditional meeting spaces. He helped to organise a democratic alternation of leadership, and became eventually a mover, together with Prof Francis Gichuru, for the establishment of the African Cultural Regeneration Institute (ACRI) in 2003.

Michael Rinyiru is the elected Director of Culture of Njurinceke and is a key recruiter and initiator of new elders into the Council of Elders. The Intangible Cultural Heritage, which includes the values and secrets of the Njurinceke, are transmitted during initiation of new elders, and the secrets are not available to non initiates. Michael Rinyiru is currently the Chairman of the traditional land tribunal, recognised by the current government. Without this tribunal today some land disputes cannot be solved fairly by modern courts.

ACRI is therefore working with Njurinceke as mover and facilitator, with key members of ACRI being operational and key elders of the Council of Elders. Njurinceke aims at preserving the cultural integrity of the Meru people and making the people live with dignity and respect for one another. The organisation is respected both locally and in the nation of Kenya as a whole. During the Post Election Violence in Kenya in the beginning of 2008 Njurinceke simply issued guidance to the youth of Meru to respect other human beings and not cause any mayhem as it was the case in other parts of Kenya, and the youth complied. ACRI will continue to work with the Njurinceke and the people Meru, as well as with other cultural communities in Kenya, to promote good conduct and respect for human rights, in the promotion of respectable global human civilisation.
This project is at proposal stage. The African Cultural Regeneration Institute (ACRI) is providing the dream, inspiration and guidance. The Meru people had a very rich traditional heritage before the colonialist came at the turn of the 19th Century and slowly strangled and discouraged it. The weakening of the heritage has been exacerbated by modernisation. The proposed centre is intended to preserve the heritage in a conscious effort of safeguarding in one specified area, such as in a living museum. Bits and pieces of this heritage can be found here and there, but still under pressure of disappearance.
The Meru people need to be rejuvenated and revived in order that they know themselves and become proud of themselves. Many of their traditional crafts were ingenious and useful both for lifestyle and health in general. The ACCAW will gather these crafts and practices in one place for the purpose of training the youth and showing them how to make economic industries out of them. It will also serve as a centre to demonstrate to the world what the Meru culture was and will open the world to the Meru people. The Meru communities are desirous to rediscover themselves and to make value out of their traditions. Before the old folk die out the youth want the elders to teach them what they know of their past skills. This will best be done in a centralised place.
Therefore, the communities, in their search for their identity, will manufacture traditional cultural instruments and create employment industries. They will develop technologies in games, dances, foods, drinks, plants and traditional medicines. They will promote modern technology transfer in order to add value to traditional culture by way of printed materials, audio and video recordings, and film making. In all this, ACRI is providing guidance and inspiration, advising the people to tap into their history without being shy and create value from their traditions.
In that respect, a suitable piece of land (about 8 acres) has been identified for the construction of Ameru Cultural Centre for Africa and the World (ACCAW) for the purpose of planning and coordinating all cultural activities of the Ameru people, recognising them and promoting them, making effort to marry the past and present.
From efforts of ACRI, revival of 'Njurinceke' is important. Following colonial domination of Kenya since 1900's Njurinceke became dormant after 1950s. During Post election violence in Kenya at the beginning of 2008, NjuriNceke was very instrumental in calming the youths of Meru against misbehaviour.
Today, suitable location and piece of land (about 8 acres) is identified for construction of Ameru Cultural Centre for Africa and the World (ACCAW), planned to coordinate all cultural activities of the Ameru people, recognise them and promote them, making effort to marry past and present, manufacture traditional cultural instruments and create employment industries; building technologies in games, dances, foods, drinks, plants and traditional medicines; and promoting modern technology transfer in order to add value to traditional culture by way of printed materials, audio and video recordings, and film making.
Advising a local investor in MEDIA industry, a local language Radio, Muga-FM, was established since 2005 through leadership of ACRI. Though the NGO does not share in management or profits of the business, it is content with having cultural values transmitted to every corner of Meru.
Books on Ameru culture, e.g., Miturire ya Ameru (Meru traditional lifestyles) by Gitobu Rinyiru, and Doctoral Thesis “Towards Africanization of Christianity “by Gaita Baikiao have been popular with communities and researchers.
BATWI AMERU, a local language paper is now in circulation since Dec 2008.. This paper is helping the Meru communities find their culture and language, and makes them proud of themselves.
Many of the projects of ACRI have stalled due to lack of funding support, and what has been happening is volunteer work; sometimes proposals circulated soliciting funding, e.g. to establish Music and filming studio for recording and research into African music, are frustrated by dishonest potential sponsors that steal the proposals while the NGO is trying to work with the local community.
The staff and drivers of ACRI are very motivated, qualified and dedicated to safeguarding African culture. Much has been achieved with volunteer work. With collaboration from organisations sharing similar interests like UNESCO, the scope of work can be vast and of very high quality.

Date de création: 1985
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
Cette association a pour but la promotion, la coordination et le soutien de diverses actions entreprises dans les champs des musiques traditionnelles et plus généralement du patrimoine culturel immatériel considérés comme ressources pour favoriser le développement des territoires en région Auvergne. A cette fin, l’association développe des actions de collecte et de conservation du patrimoine oral, de soutien à la création, à la diffusion et programmation du spectacle vivant, la formation, la recherche, l’animation, la documentation, l’initiation, etc., et l’information des acteurs concernés par ces secteurs.
Activités:
L'AMTA est un centre de ressources dédié au patrimoine culturel immatériel. Sa fonction est d'être un lien de référence, d'expertise, de conseils et d'appui pour les différents acteurs du territoire. Ses principales activités sont:

1/ Inventaire, sauvegarde et mise en accés
L'AMTA utilise le logiciel de base de données Alexandrie 7 qui est le logiciel utilisé par l'ensemble des centres documentaires du réseau national des musiques et danses traditionnelles (FAMDT) avec rien qu'en 2011 plus de 200 heures de bandes sonores (supports DAT) et vidéos et plus de 500 documents iconographiques. Pour le traitement des archives sonores, une fois inventoriées, elles sont numérisées, qualifiées, classées et mises en ligne sur un méta-portail mutualisé par 6 structures à l'échelle du Massif Central.
L'AMTA est un pôle associé à la BNF pour tous ce qui concerne l'inventaire et le catalogage de fonds sonores en Auvergne. Nous travaillons en partenariat avec les archives départementales où nous avons déposé plus de 4000 photos.

2/ Transmission et pédagogie
L'AMTA developpe l'intérêt du public pour le patrimoine immatériel à travers son exposition itinérante sur les musiques du paysage, des productions (livres, CD), des conférences et la réalisation filmés de personnages remarquables.
L'AMTA intervient auprès d'établissements scolaires dans la conception et la réalisation de programmes pédagogiques en lien avec le patrimoine culturel immatériel comme la réalisation de contes musicaux.

3/ Mise en réseau
L'AMTA, en tant que centre régional, s'attache à remplir une mission de coordination, de centre de ressources et d'informations pour l'ensemble des acteurs du patrimoine oral de l'Auvergne.

4/ Expertise et conseil
L'AMTA s'attache à valoriser les fonds en apportant un appui aux enseignants, étudiants, artistes et chercheurs des différentes disciplines concernées par le patrimoine immatériel.
L'AMTA apporte son expertise et accompagne les acteurs des territoires dans le cadre de projet de développement territorial.
L'AMTA construit et anime des projets de développement territorial par la valorisation du patrimoine culturel immatériel comme la création par les scolaires de contes musicaux qui réinventent l'origine de leur pays et la réalisation de portraits de personnages remarquables.
Coopération:
Réseau national: L'AMTA est membre de la FAMDT (organisme acrédité par l'UNESCO) et participe activement à la commission sur le patrimoine culturel immatériel avec d'autres membres acrédités (DASTUM, ANCT, MPO, etc.) L'AMTA est via la FAMDT un pôle associé à la Bibliothèque Nationale de France. Elle coordonne un projet inter-régional sur le Massif Central, regroupant six structures (ANCT, MPO, IEO Limousin, CRMTL, ADDA, Scènes Croisées) dans quatre régions (Bourgogne, Languedoc-Roussillon, Limousin et Auvergne), intitulé patrimoine "langues, musiques et danses".
Réseau régional: L'AMTA coordonne l'ensemble du réseau des musiques et danses traditionnelles en Auvergne qui regroupe quatre centres departementaux, 300 groupes de musiques et environ un milliers d'adhérents.

Date de création: 1959
Budget: U.S.$360000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement

Pays principaux d'activité:

Turquie

Objectifs:
Notre association a pour but de sauvegarder le patrimoine culturel de Nasreddin Hodja, afin de donner à cet héritage culturel immatériel la place qui lui revient. Car Nasreddin Hodja n’a rien écrit de son vivant. Mais on écrit sur lui depuis le XVe siècle dans plusieurs endroits du monde. Il a donc une valeur nationale et universelle.
Il a vécu au XIIIe siècle (1208-1284).Sa renommée va des Balkan à la Mongolie et ses aventures sont célébrées dans des dizaines de langues, du serbo-croate au persan en passant par le turc, l'arabe, le grec, le russe et d'autres.
Les informations sur la vie de Nasreddin Hodja sont mêlées quelquefois à des dires en raison du grand amour que lui nourrissait le peuple et se sont aussi transformées parfois en événements extraordinaires.
La valeur de Nasreddin Hodja n’est pas mesurée avec les événements qu’il a vécus, mais avec la finesse de la conception, de la satire et des éléments de moquerie dans son humour et celui que le peuple raconte en son nom. D’après les études réalisées sur les plaisanteries, qui seraient les siennes, on comprend par la signification des mots qu’il n’a pas exprimé le mode de vie, et les éléments humoristiques et satiriques d’une époque précise, mais ceux du peuple d’Anatolie. La base des éléments qui forme ses plaisanteries sont l’amour, la satire, l’éloge et la moquerie. Il aime ridiculiser, il s’entraîne vers une contradiction avec lui-même. Nasdreddin Hodja apparaît comme un foyer humoristique diffusant les sentiments du peuple. Ainsi, le peuple fait entendre sa voix par le biais de Nasreddin Hodja.
Les Fondateurs de l’association et leurs successeurs avaient les objectifs suivants:
 Etudier Nasreddin Hodja, sa vraie Personnalité, son époque et ses anecdotes.
 Faire connaître son humour, sa philosophie, sa tradition de "Rire et Penser"
et sa ville Akchehir dans le Monde entier.
 Préserver le tombeau de Nasreddin Hodja, les autres bâtiments historiques et leurs environnement naturels
 Renforcer l’esprit de promouvoir notre héritage culturel au sein de la société, comme les expressions traditionnelles, rituels de naissance, de mariage et de funérailles, traditions culinaires,….


Activités:
En premier lieu, l'association de Nasreddin Hodja et du Tourisme organise le "Festival International de Nasreddin Hodja" avec la Municipalité, à Akchehir (Akchehir- Ville Blanche) du 5 au10 juillet, depuis 50 ans. D’ailleur, l'Unesco a déclaré l'année 1996, « Année de Nasreddin Hodja ».
Cela se passe tous les ans ainsi :
Quelques jours avant le festival, nous rendrons visite aux députés et aux ministres à l'Assemblée Nationale de Turquie (TBMM) avec le délégué de Nasreddin Hodja, pour les inviter au Festival.
À la veille du festival; un train spécial (Train d'Humour) part d'Istamboul pour Akchehir et amène nos invités: des artistes, des écrivains, des journalistes, des folkloristes, des universitaires et autres intellectuels. Au départ et à l'arrivée du train, il y a chaque fois une cérémonie truculente.
Du 5 au10 juillet, concernant le programme du Festival :
Dans la matinée du 5 juillet, nous commençons avec le rituel de la résurrection au tombeau. On appelle Nasreddin Hodja qui vient parmi nous. En effet, un acteur qui représente le Hodja sort du tombeau et fait son discours contenant le message de l'année.
Par la suite ; le Hodja, entourré de foule , va au bord du lac, ajoute un peu de yogourt à l’eau et les melange avec une louche. On lui demande « Que faites-vous Hodja ? » « Je fermente le yogourt ! » repond-il. Les entourages :« Mais c’est impossible dans un lac et jamais vu.. » Le hodja sourit et repond comme 8 siècles avant: « Je sais bien, mais si on y parvenait !»
Pendant le festival ;Il y a les spectacles de théâtre, de danse, concerts de musique (rock, pop, musique traditionnelle turque); des expositions de caricature, de dessin, de photographie, sculptures, articles céramiques; des débats, des conférences, des dialogues sur les thèmes de Nasreddin Hodja et de l'humour; les pratiques liées à la chasse, la pêche et la cueillette.
Les artistes et les experts qui participent aux activités du programme viennent de différentes villes de Turquie et de plusieurs pays.
Cette année, le comité du festival que nous représentons a décidé de distribuer les « Prix du Rire et de l’Ane d’Or de Nasreddin Hodja » à trois humoristes.
Notre association a aussi donné le « Prix de Chercheur du 50ème Année » à Dr. Mustafa DUMAN, qui est à la fois écrivain, documentaliste et collectionneur, sur le thème de Nasreddin Hodja.
D'autre part, notre association organise aussi le "Festival des Enfants de Nasreddin Hodja" avec l'aide de la Municipalité, chaque année, à Akchehir (Akchehir- Ville Blanche) le 23 avril pendant la Fête Nationale Turque de Souveraineté et des Enfants.
Nous organisons ainsi les concours de caricatures, d'histoires humoristiques, photographies, d'affiches de Festival. (Cette année nous n'avons pas pu les faire à cause de crise.)
Nous participons aux symposiums, festivals nationaux, internationaux et
également à des réunions de l'UNESCO sur le thème de patrimoine culturel immatériel (PCI), comme observateur. ( à Sofia, la 2ème session extraordinaire du Comité Intergouvernemental du 18 au 22 février 2008 et à Istanbul la 3ème session du Comité Intergouvernemental, du 4 au 8 novembre 2008)
Nous étions également à la réunion de travail sur le sujet de “ Patrimoine Culturel Immatériel et les ONG ”, le 4 juin 2009 ,à Ankara/Turquie. Celle-ci a été organisée par Commission de l’ UNESCO de Turquie, les Universités , TURKSOY et Centre National Turc de l’ UNIMA. Les cadres du ministère de la Culture et du Tourisme et du ministère de l’ Education étaient présents. On a eu un débat important sur les processus de l’ accréditation des ONG de Turquie par l’UNESCO.
Par ailleurs, nous avons une riche archive à notre siège. Elle comprend des bouquins, des revues, des bulletins, des affiches, des cassettes VHS, des CD, essentiellement sur Nasreddin Hodja, sur les festivals et sur les héritages culturels nationaux et internationaux
Notre association a également en son sein un groupe qui s'appelle les " Jeunes Bénévoles". Ce sont des élèves, des étudiants ou bien des artisans qui travaillent bénévolement pour l'association surtout pendant les Festivals comme représentants de leur ville et de leur culture et participent à nos activités culturelles et sociales durant toute l’année.
Quant au Conseil Consultatif de notre Association, il a été créé en novembre 2006. Ce conseil fonctionne comme un centre d'expertise dans ce domaine et regroupe des experts de différentes disciplines (histoire, sociologie, économie, folklore, archéologie), des artistes (acteurs, caricaturistes, peintres, photographes), écrivains et journalistes célèbres de Turquie.

Coopération:
Au sein de notre association; il y a un groupe traditionnelle qui s’appelle “Sıra Yarenleri” (Rang de Frère). L’une des institutions qui a aussi contribué à l’union culturelle de l’Anatolie est celle des Ahis (Frères) . Les Ahis, arrivés en Anatolie en même temps que les derviches de Ahmet Yesevi, 12. siécle, se sont installés surtout dans les régions urbaines plutôt que rurales en raison de leurs qualités professionnelles.
Bien que les Ahis constituent une organisation professionnelle ( surtout les artisans), qui avaient des us et coutumes ainsi que des secrets.
Le principe fondamental chez les Ahis est l’égalité absolue des membres de l’organisation. Tous les membres sont frères. Mais un respect infini existe du membre le plus jeune à l’égard du membre le plus âgé. Pour devenir membre de l’organisation, il faudra la recommandation de l’un de ses membres. Ceux qui ont commis des actes terribles, ont une mauvaise réputation et qui pourraient nuire à l’organisation ne peuvent devenir membre des Ahis. L’adhésion se fera lors d’une cérémonie spéciale . Le candidat Ahi se nouera une ceinture autour de la taille pour la cérémonie et il lui sera conseillé de nourrir de l’amour à l’égard de tous les humains, de les respecter et de ne pas dévier de la juste voie. Il lui sera aussi demandé de se soumettre éternellement à l’organisation. Les scélérats ne pourront absolument pas y adhérer tout comme les fanatiques d’ailleurs.
Comme les Bektaşi, les Ahis feront passer leurs membres par des phases qui leur donneront des particularités comme la connaissance, la patience, la purification de l’âme, la fidélité, l’amitié et la tolérance.
Parmi les “Frères” il y a les membres de notre association et nous organisons avec eux les spéctacles mélangés de jeu, de danse, de théatre. On distribue les cadeax par tirage au sort, etc, pendant toute la soirée . Le groupe joue leurs jeux avec l’ assistance .
Nous avons aussi de bon relation avec la population alévite d’Akchéhir qui sont souvent musiciens et artisans. On les nomme souvent par erreur les tziganes.

Date de création: 1978
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection

Objectifs:
The objectives of the American Folklore Society are to stimulate and encourage interest and research in folklore in all its aspects; to aid in the dissemination of the results of such research; to promote responsible application of such research in the broad variety of settings in which folklorists work; to publish and distribute publications, reports and journals; to serve as a bond among those interested in the study of folklore; to advocate for and assist the teaching of folklore and the establishment of folklore curricula and programs at all age levels in all educational contexts; to enhance the professional well-being of the Society’s members; and to engage in such other activities as are consonant with the foregoing purposes.
Activités:
The American Folklore Society:
1. Publishes the quarterly Journal of American Folklore, begun in 1888 and one of the oldest and most respected folklore journals in the world, which publishes the results of folklore research conducted throughout the world
2. Produces an annual meeting each October that brings together more than 700 folklorists from around the world to exchange work and ideas, and to create and strengthen friendships and working relationships
3. Maintains the AFS web site as a means for communication among Society members and between folklorists and the world at large
4. Serves as the hub of our diverse field, developing means of communication and offering professional development opportunities not offered by other organizations
5. Prepares position statements and policy documents on a variety of cultural, educational, and professional issues, as part of an ongoing program of advocacy for traditional cultural expression and the work of folklorists
6. Supports the work of 6 committees and some 30 interest-group sections
7. Awards prizes, travel stipends, and other forms of recognition and support for outstanding work and best practices
8. Maintains active partnerships with other societies in the American Council of Learned Societies and the National Humanities Alliance
9. Takes a leading role in national and international folklore projects, such as the H-Folk international folklore scholarship listserv and the development of an ethnographic thesaurus, and in international deliberations concerning folklore, intellectual property, and intangible cultural heritage

Coopération:
For many years, our Society has cooperated in several ways in a spirit of mutual respect with communities, groups, and individuals that create, maintain, and transmit intangible cultural heritage.

We provide financial support to enable a number of community-based artists, performers, practitioners, and scholars to attend our annual conferences. We give significant places on the programs of those conferences to those individuals, and to the communities and groups they represent, to discuss their traditional cultural expressions as well as the issues that face them as they seek to maintain and transmit their intangible cultural heritage. For example, at our 2007 annual meeting in Québec, representatives from a number of Canadian and US First Nations and other indigenous communities took part; in 2008 in Louisville community scholars and practitioners from African, African American, and Appalachian communities; and at our 2009 annual meeting in Idaho we will sponsor sessions featuring representatives from Latino, Native American, Basque, farming, and ranching communities throughout the western US.

We have an ongoing committee (the American Folklore Society Cultural Diversity Task Force) that works to bring such community-based representatives into long-term membership and active participation in our Society.

We also provide technical assistance grants throughout the year to communities and groups to support consultancies, meetings, and other activities that will help them pursue their intangible cultural heritage documentation and preservation efforts. Projects we have supported include efforts by indigenous artists to protect the supply of plant items that are essential to their craft traditions, and gatherings of traditional cultural leaders of immigrant communities to discuss means of effectively preserving and transmitting their intangible cultural heritage in their new homelands.

Since 2002, the Society has also been an accredited NGO member of the World Intellectual Property Organization's Intergovernmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge, and Folklore (IGC-GRTKF). In that body we cooperate with other culturally based NGOs, including those representing particular indigenous communities, on meeting presentations and other activities of mutual interest.

Date de création: 1992
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Restauration et aménagement de monuments et de sites

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Restauration - conservation, veille, interpellation et sensibilisation

Pays principaux d'activité:

Madagascar

Objectifs:
Les APM constituent une association à but non lucratif, apolitique qui réunit tous les amis des arts et des techniques traditionnelles malgaches. Son but est d'entreprendre et d'appuyer toutes initiatives et actions ayant pour objet de promouvoir l'expression littéraire, scientifique et esthétique se rapportant à la valorisation du Patrimoine culturel et artistique malgache. Les APM assurent également un rôle de veille, d'interpellation et
de sensibilisation auprès des autorités et de la population locales malgaches dans le domaine de la conservation du Patrimoine national.
Activités:
- En 2009, les APM ont organisé une conférence-débat sur le thème de: "La cuisine traditionnelle en lmerina: son histoire, sa diversité, son avenir" qui visait donc la promotion et la remise en valeur de l'art culinaire traditionnel malgache.
- De 1998 à 1999, les APM ont constitué une documentation historique sur le Tranobe (Palais royal) du site d'Evato Vohipeno, un haut lieu de l'histoire qui abrite les reliques des "Sorabe" (culture arabico-malgache).
- Les APM participent également à de nombreux spectacles de musiques traditionnelles et folkloriques, d'expositions et de journées culturelles, et ont pris part au festival Madajazzcar en 2007 (jazz).
Membres de l'organisation et compétences:

- Désiré RAZAFINDRAZAKA, Président des APM: Président du festival Madajazzcar, Président de l'association culturelle Mada sur Seine - Titulaire d'un DEA en langues, littérature et sociétés (Option: Etudes malgaches) à l'Institut National des Langues et Civilisations Orientales de Paris.
- Daniel DARTIGUEPEYROU, Secrétaire Général: Historien Géographe retraité
- Jacques TRONCHON, Secrétaire Général Adjoint: Enseignant historien retraité - Histoire de Madagascar
- Dominique RAKOTOMALALA, Trésorier Général: Etudes supérieures en diplomatie et langues étrangères (Espagne, Autriche, Allemagne).
- Elyane RAHONINTSOA, Vice-Présidente: Formation aux métiers du Tourisme et de l'Hôtellerie (USA, Grande-Bretagne, Japon... ), stages linguistiques.
- En général, les APM sont consistués de membres écrivains et historiens, passionnées de culture et de développement.

Additional information:

Les activités récentes des APM décrivant nos activités récentes et notre expérience avérée en matière de sauvegarde du patrimoine culturel immatériel :

-2010-2011 : Promotion et valorisation de la richesse culturelle et patrimoniale malgache à travers la publication d’un ouvrage sur le patrimoine malgache tant sur le plan immatériel que matériel, en collaboration avec la Coopération Suisse à Madagascar.
Il s’agit d’un outil de plaidoyer, d’éducation, d’interpellation et de communication permettant aux APM de sensibiliser les décideurs, les jeunes et la population malgache en général en matière de préservation du patrimoine.
Plusieurs thématiques seront abordées dans ce recueil :
Le Hain-teny et le Kabary (discours traditionnel) ;
Les Arts martiaux malgaches comme le Diamanga ;
Le Sorabe (écriture arabico-malgache) ;
La cuisine traditionnelle ;
Les techniques paysannes ;
Les modes d’habillement et les arts de la coiffure traditionnelle ;
La vannerie ;
La culture du riz ;
Les archives nationales ;
La musique (tradition et jazz), etc.

-Janvier 2010, dans le cadre du Café littéraire, les APM ont participé à une conférence débat sur le thème : « Faut-il défendre le patrimoine ? »
Il s’agissait d’une campagne de communication et d’interpellation autour de la notion du patrimoine notamment du patrimoine naturel, de la faune et de la flore, de l’architecture, de la langue, de la culture, etc.

-En 2009, les APM ont organisé une conférence-débat sur le thème de: « La cuisine traditionnelle en Imerina: son histoire, sa diversité, son avenir » qui visait donc la promotion et la remise en valeur de l'art culinaire traditionnel malgache.

-Les APM ont également participé à de nombreux spectacles de musique traditionnelle et folklorique, d'expositions et de journées culturelles. Ces spectacles ont été organisés sur des sites historiques, ce qui a permis de valoriser en même temps le site, en lui-même, en tant que patrimoine culturel matériel et la musique traditionnelle malgache.
L’association a notamment organisé un concert mariant le jazz à la musique traditionnelle et a pris part au festival Madajazzcar en 2007 (jazz), ce dernier a été organisé au Palais de Justice d’Ambatondrafandrana, construit en 1881 sous le règne de Ranavalona II.

-La semaine de la « Valiha », avril 2001, en collaboration avec Univers Valiha Production et l’AFT
Festival organisé tous les ans depuis 1993 ayant pour objectif de populariser l’instrument à travers la Grande Ile. La Valiha est une variété de cithare tubulaire en bambou.

-Concours artistiques sur le thème de l’ « Unité Nationale »

-De 1998 à 1999, les APM ont constitué une documentation historique sur le Tranobe (Palais royal) du site d'Evato Vohipeno, un haut lieu de l'histoire qui abrite les reliques des « Sorabe » (écriture arabico-malgache) en vue de la revalorisation et de la protection de ces derniers.

-Colloque sur le « Langage et développement »
Coopération:
En partenariat avec l'Association des Journalistes du Patrimoine, les APM ont lancé avec l'Institut d'Etudes Supérieures des Arts (IESA) une formation sur "La communication du Patrimoine (2007).
- En partenariat avec l'Alliance française de Tananarive et l'ORTANA (Office Régional du Tourisme de la Région Analamanga), les APM ont organisé l'évènement Lire en fête sur le thème de: "Une ville, une oeuvre" (2007).

Additional information:

Les expériences concernant « la coopération, dans un esprit de respect mutuel, avec les communautés, les groupes et, le cas échéant, les individus créant, pratiquant et transmettant le patrimoine culturel immatériel »

-2010-2011, avec la Coopération Suisse : projet de promotion et de valorisation du patrimoine culturel malgache.

-En partenariat avec l'Association des Journalistes du Patrimoine, les APM ont lancé avec l'Institut d'Études Supérieures des Arts (IESA) une formation sur « La communication du Patrimoine » (2007).

-En partenariat avec l'Alliance française de Tananarive et l'ORTANA (Office Régional du Tourisme de la Région Analamanga), les APM ont organisé l'évènement Lire en fête autour du thème de: "Une ville, une œuvre" (2007).

-Partenariat avec le comité organisateur du festival Madajazzcar, 2007

-Collaboration avec Univers Valiha Production pour l’organisation de la semaine de la Valiha et l’Alliance Française d’Antananarivo, 2001.

Date de création: 2002
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
ArteSol started its works in 1998 and became a Civil Society Organization of Public Interest in 2002. Its institutional mission is to contribute to the safeguarding of traditional craftwork and to improve the living standards and self-esteem of their practitioners in areas of Brazil with low human development indices. The decision to prioritise families whose income often falls below the poverty line implies that ArteSol has contributed to safeguard several craftwork expressions at risk of disappearing.

Activités:
With the support of several partners, sponsors, volunteers and donors, ArteSol has developed 114 projects supporting traditional producers of pottery, weaving, lace and embroidery work, wooden and clay sculptures, musical instruments and toys, among other artefacts made primarily by women. These projects have benefited approximately 5,000 people, considering artisans and their family members, in 96 localities of various regions of the country, distributed as follows: two in the North, 61 in the Northeast, 1 in the South, 29 in the Southeast and 3 in the Midwest.
The actions developed by ArteSol set out from the principle that intangible cultural heritage in general, and traditional craftwork in particular, are resources of special significance in terms of the history, worldviews and ways of life of their practitioners. These resources are potentially available to most, if not all, members of cultural communities, allowing for differences in gender, age and other forms of social differentiation. They are often an important component of family income. For such economic and socio-psychological reasons, their safeguarding and development, when sustainable, can contribute decisively to improve their living conditions, boost their self-esteem and promote access to citizenship rights.
The social technology developed by ArteSol includes the identification of groups of traditional craft-workers living in poverty; the understanding of their activity as an integral part of social life, worldview and family budget; interpretation of the values attributed to their work and products by the wider public; elaboration of specific safeguarding plans, implementation and continuous evaluation of the project performance.
One of the first priorities of action plans are to contribute to the formation of associations; to understand consumer needs and tastes; to redesign products where necessary, respecting traditional taste and techniques; to help in price formation and in establishing as direct as possible relations with the market. A key objective has been to strengthen the autonomy of the artisans in the sale of their products and advise them on how to market in line with fair trade principles.
ArteSol has effectively contributed to safeguarding expressions of intangible cultural heritage at risk in Brazil. Examples of good practices are the support to lacemaking in Divina Pastora (Sergipe State), to the construction of viola de cocho guitars in Corumbá and Ladário (Mato Grosso do Sul State) and the making of earthenware cooking dishes in Goiabeiras (Espirito Santo State). IPHAN – Institute of National Historic and Artistic Heritage has registered these three cultural elements as Brazil’s Intangible Cultural Heritage
.
In addition, this approach contributes significantly to projects of regional sustainable development like those taking place in Polo Veredas < http://www.artesol.org.br/site/english/cases/ > (Minas Gerais State), for example.
Individuals and institutional partners have contributed a variety of financial, intellectual, technical and political resources, at various levels, to the continuity and development of the projects and actions developed by ArteSol.

Coopération:
ArteSol still implements this approach with communities included more recently its programs. However, its main goal since 2012 has been to build the ArteSol Network, focusing mainly on the communities that have participated in activities developed by ArteSol since 1998.
This network’s objective is to develop a specific website allowing direct contact with associations, cooperatives, masters, artisans and their commercial partners: i.e. agents belonging to the productive chain of traditional craftwork in Brazil.

Traditional craftwork supported by ArteSol registered as Brazilian Intangible Cultural Heritage (IPHAN):
Goiabeiras earthenware cooking dishes (Espirito Santo State), in 2002.
Viola de cocho guitar of Corumbá and Ladário (Mato Grosso do Sul State), in 2005.
Divina Pastora Irish Style Lacemaking, in 2008. It also received Indication of Origin by the National Institute of Industrial Property, under the geographic name of ‘Divina Pastora’ in 2012.
Eleven craftwork associations supported by ArteSol received the SEBRAE Top 100 award in 2009.
Mamulengo Project, World Bank’s Award for Innovative Social Enterprises in 2002
Esperança, the Agreste Doll Project, Banco do Brasil Foundation’s Social Technology Award in 2005.
In the near future, the Network aims to include gradually stores, support institutions and government support programs through a communication plan that provides ready access to information and contacts. Rede ArteSol is not a sales site. Its objectives is build relationships and become an effective networking tool for the development of traditional craftwork in Brazil.
This initiative has produced already very positive results, encouraging us to continue to work in this direction.

Date de création: 2010
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Azerbaïdjan

Objectifs:
The general objectives of the Ashiq Shamshir Public Union is the collection, research, study, publication, protection, promotion of Azerbaijani Ashiq Art and its transmission to the future generation.
Activités:
The Public Union has been involved in the following projects and events related to the safeguarding, promotion and transmission of intangible cultural heritage of Azerbaijan.

Projects:
1. The Public Union has started the implementation of a project named "Promotion of Nearly Forgotten Fork Art Genres" in March 2010. The project was sponsored by the Council on State Support to NGOs. The samples of the forgotten folk art genres, especially the family-domestic folk plays were gathered, filmed and the educational materials were prepared aiming promotion of these folk arts.
2. In June 2012, the Public Union has started the execution of the project of "Masterworks – Come to Read the Alphabet of Our National Values Together". The objective of the project is to outline the importance of the masterworks in the education of the young generation and to provide information to the young generation in this regard.
3. In October 2012, the Public Union has started the execution of a project named: The National Wealth of the Modern Azerbaijan - Ashiq Art" and has launched a scientific-research program at Caucasian University on 24 October 2012.
4. In April 2014, Dede Gorgud's Da, the Public Union has organized Saz workshops in Baku and Ganja for protection of the old Azerbaijani music instrument of Saz.

Events
1. The Public Union has organized and hosted a seminar for “Uzeyir Hajibayli and the Ashiq Art" in December 2010. The lecturers presented their works on subjects like the importance of folk arts in the Uzeyir Hacibayli's works and the role of Uzeyir Hajibayli in development of Ashiq Art.
2. In collaboration with the Ministry of Culture and Tourism, the Public Union organized the
"Ashiq Competitions between the Young Ashiqs of the Country - a Tribute to Ashiq Shamshir'' on 22 December 2010. 77 young Ashiqs from 33 districts throughout the country performed their works on this occasion.
3. The Public Union organized and hosted an event on 2 February 2011 named the “Role of young Ashiqs in Development of Ashiq Arts". The objective of the event was the safeguarding of traditions and folk arts and also emphasizing on the importance of continuation of all actions undertaken in line with this issue.
4. In collaboration with the Folklore Institute, the Public Union organized the scientific-practical conference on Folk Art of Azerbaijan in the Context of European Civilization on 21 December 2011.
5. On 24 March 24 2012, the Public Union has organized a concert program for the Azerbaijani people in Mainz, Germany within Novruz festival programme.
6. In collaboration with the Council on State Support to NGO, the Public Union implemented a project- conference on "Ashiq-Ozan, the Symbol of United Culture of Azerbaijan- Turkey" in June 2013. The objective of the conference was to contribute to cultural integration between the nations.
7. In collaboration with the Folklore Institute, the Public Union organized an international scientific conference on “The Historical Development Path of Ashiq Art and Ashiq Shamshir's Era" on 7 December 2013. The objective of the event was to investigate the role of the outstanding representative of Ashiq - Ozan Art of 20th century, Ashiq Shamshir in this art and its investigation from scientific and theoretical points of view.

Commemoration events
1. In collaboration with the Ministry of Culture and Tourism, the Public Union organized “The
Master Ashiqs are in People's Hearts" as a tribute to the master Ashiqs on 29 June 2011 which was a concert program of Azerbaijani Ashiqs.
2. In collaboration with the Institute of Eurasia International Investigations, the Public Union organized an event dedicated to the 150th anniversary of Master Poet Ashiq Gurbani in June 2012.
3. The Public Union organized an event on 21 December 2012 on the occasion of the 130th anniversary of Hoseyn Javid, an outstanding poet and drama writer. The winners of essay competition on “Hoseyn Javid and the Azerbaijan Literature” held between the students were declared on the event.
4. In collaboration with the Shahriyar" Society, the Public Union has organized an event dedicated to the master Ashiqs of the Republic of AzerbaiJan at House of Nations in Moscow on 3 June 2013.
5. In collaboration with the Baku State University, the Public Union organized an event dedicated to the 105th anniversary of Mir Jalal Pashayev, the outstanding scholar and writer, in December 2013.

Awards
The Public Union took part in a book festival on 28 May 2011. Ashiq Shamshir' Cultural Center Public Union was selected as the winner of the Outstanding Cultural Institution for the year 2010 at the 11th Book Festival. The prize was awarded to the Public Union for its role in development of cultural values, its efforts in line with the promotion of Ashiq art and its support provided to the field of culture.

The Public Union has participated in numerous international conferences, festivals and cultural events. It has as well supported many publications on Ashiq Shamshir.

Coopération:
The Public Union has established close relationships with folk experts, musicologists, poets, masters and performers of Ashiq Shamshir as well as with other persons involved or interested in the field of art.

Date de création: 1995
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- education

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Brésil, Espagne, Portugal

Objectifs:
The objectives for the creation of the Cultural and Educational Association PONTE…NAS ONDAS! included in its statutes are the following:
1. Spread the manifestations of the Galician-Portuguese Cultural Heritage.
2. Foster the conservation and respect for the Cultural Heritage of the Euroregion as an original cultural property in this territory with a presence throughout the world.
3. Foster the relationship among the Galician and Portuguese educational establishments as well as others from different countries in order to strengthen their mutual knowledge.
4. The promotion of cultural and educational activities in school environments and the spread of activities related to the school radio and the use of new technologies in school.
5. The spread and use of Galician language in relation with Portuguese, as well as the promotion of the common identity of the two territories through an overall perspective of the European integration and the Portuguese-speaking world.
6. Promote the collection and spread of the Intangible Heritage contents in order to be the link of the bearers of knowledge with new generations and, at the same time, enhance the potential of this heritage.
7. Defend before governments and organisations deemed appropriate, the creation of the Euroregion Living Human Treasures System.
8. Collaborate with other associations, as well as public and private bodies to carry out activities which help to revitalise and keep the expressions of the Galician-Portuguese Cultural Heritage alive.
Activités:
The cultural and pedagogical Association Ponte...nas Ondas! ( hereinafter "PNO!" ) is comprised of teachers from Galicia and the north of Portugal who come from different education levels, ranging from compulsory education to University. Its activities began in 1995 and continue up to present date. Galician and Portuguese specialists in pedagogy, philology, anthropology and ethnography collaborate on the Association's projects.
The first activities of the Association were focused on achieving, in both sides of the Galician-Portuguese border, a mutual recognition of the Galician-Portuguese Intangible Heritage ( hereinafter "GPIH" ).
• Inter-school Communication Days
PNO!'s activity started with a day of communication and dialogue via radio between educational institutions from Galicia and the north of Portugal, carried out entirely by students: this initiative was named "PONTE...NAS ONDAS! Inter-school communication day" ( the Association chose its name after this event ).
The subject matter of its 6th edition ( year 2000 ) was UNESCO's project "The Slave Route", in which schools of the UNESCO Associated Schools participated with a 24-hour radio broadcast from Europe, Africa and America.
Since the proclamation of the Masterpieces of the Oral and Intangible Heritage of Humanity in 2001, the Association decided to start a line of work on the Intangible Heritage.
The Inter-school Communication Day has had 20 editions, and saw the participation of more than 800 educational institutions from Spain and Portugal, as well as other educational institutions from America and Africa.
• Samples of the Galician-Portuguese oral tradition
Activity aimed to disseminate the GPIH all along the Galicia-North Portugal Euroregion. The Samples of the Galician-Portuguese Oral Tradition intend to make known, in a single event, examples of the oral Galician-Portuguese tradition by joining oral expression, theater and music together.
Since its first edition, 10 samples have taken place in locations in Galicia and the north of Portugal.
• Meeting of the Galician-Portuguese Intangible Heritage Bearers ( Melgaço 2005 )
Meeting aimed to give visibility to the Candidature of the Galician-Portuguese Intangible Heritage presented before the UNESCO. For three days, representative expressions of the Galician-Portuguese intangible heritage were shown.
• Galician-Portuguese Oral Tradiction Collection Contest (2006)
This activity was aimed to collect samples of the Galician-Portuguese intangible heritage from an educational point of view, so the students can find out their nearest heritage expressions. The collected samples came with the corresponding technical data sheet and transcription. This was the only contest aimed to the educational institutions of the Galicia-North Portugal Euroregion.
• Publication of books, CDs and DVDs related to the Galician-Portuguese intangible heritage.
Meniños Cantores ( 2005 ). CD-Book-DVD produced by 17 educational institutions from Galicia and the north of Portugal featuring traditional songs and a documentary about the GPIH. Published in Galician, Portuguese, Spanish and English.
Cores do Atlántico ( 2010 ). CD-Book about the cantigas de amigo ( Galician-Portuguese medieval lyric poetry ) from the Galician-Portuguese oral tradition carried out by brazilian artist Socorro Lira and Ria Lemaire, professor at the Université de Poitiers.
Na ponte ( 2013 ). CD-Book-DVD that collects works from teachers, anthropologists, journalists and artistic collaborators from PNO!
• International Congress “PONTES DE CULTURA, PONTES DE FUTURO” (2010)
Cross-border congress carried out on the occasion of the 15th anniversary of PNO! Teachers, anthropologists, journalists and artists particicipated as speakers and discussed the GPIH and PNO!'s role. The Congress's main subjects were education, the heritage, the ICTs and the media.
• Living treasures of the sea ( 2013 )
Project for the recovery of the maritime heritage of A Guarda`s town council ( Galicia ). Interviews and data related to heritage-bearers were collected. The initiative resulted in the creation of a website and the publication of a Book-DVD about the recognition of persons and groups belonging to maritime culture in A Guarda's town council.
• Galician-Portuguese Traditional Games Meetin
Aimed at educational institutions at both sides of the border, this activity intends to convey the traditional Galician-Portuguese games to the younger generations. It takes place in locations in Galicia or in the north of Portugal. XI annual meetings have already been held.
• Candidacy of the Galician-Portuguese Intangible Heritage
Presented by Spain and Portugal in 2004. It was the first candidature promoted by two educational institutions from two european countries. The process started in 2005 and the proposal was developed for two years by team of the Association.
• Recognitions
PNO!'s activities were awarded the seal “Buena práctica Iberoamérica” by Spain's Ministry of Education, culture and Sport; they also received the ONDAS award (Spain's most prestigious communications awards) in 2014 for the “best media coverage of the Galician-Portuguese intangible heritage”.
Coopération:
The PNO! ( Ponte…nas ondas! ) Association has been working since 2002 towards the documentation, gathering and recognition of several manifestations of the GPIH ( Galician-Portuguese Intangible Heritage ). This work was always carried out in direct contact with the communities bearing the said heritage. These groups collaborated in many of the Association's activities in order to revitalize this heritage and convey it to the younger generations.
During the elaboration of the proposal for the Candidature of the Galician-Portuguese Intangible Cultural Heritage, which began in 2002, the Association contacted the representative communities of the GPIH in both Galicia and the north of Portugal. These communities were representative of the heritage's fields featured in the Candidature: the oral tradition's popular literature, the oral tradition of rural and fishing areas, the artisanal knowledge and the celebrations throughout the year. The written consent and the Candidature's documentation were submitted together.
In all of the GPIH's fields, the bearing communities and gathering groups of this heritage in Galicia and North of Portugal collaborated with the Association, thus providing equipment and performing conveying activities in formal learning as well as in public events.
Once the Candidature was presented before the UNESCO in 2004, and as it was being assessed by the international jury, communities and bearers performed activities to spread the common heritage throughout the Galicia-North of Portugal Euroregion.
Due to its territorial involvement and the number of involved communities, we wish to highlight the role of the Galician Federation for Maritime and Fluvial Culture ( Galician initials: FGCMF ), which groups together with important bonds the maritime communities of the Galician and Portuguese coastline that protect the manifestations of the Galician-Portuguese maritime culture.
The forest or baldíos (communal property system of swabian origin) communities, wich are grouped together in several Federations along the whole Euroregion and perform communal agricultural and farming activities, also collaborated with the Association.
Other experiences with communities included their participation in some of the Association's activities such as the Samples of the Galician-Portuguese Oral Tradition, the Traditional Games Meetings or the Inter-School Communication Days "Ponte..nas ondas!".

Date de création: 1996
Domaine(s):

- oral traditions and expressions

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement

Pays principaux d'activité:

Indonésie

Objectifs:
• To hold various activities involving researchers, observers, people interested in oral traditions, and those who support oral traditions, in order to develop their potentials.
• To appreciate and introduce the diversity of our cultural heritage, especially oral traditions, using three approaches, Le. science / education, documentation, and performance, including its publications.
• To organize accompanying programs (applied programs) preceded by research / deep observation in order to develop oral traditions and their supporting communities by means of conservation activities, reservation, preservation, and revitalization.
• To work on the re-functioning of certain oral traditions among communities, both in their original forms and in their modified or transformed forms.
• To assist the government and the general public by providing services in information, documentation, publication, research, and the advancement of oral traditions in order to create a network of information formed among various individuals and institutions.
Activités:
• Research in the various regions such as : oral tradition of Suku Anak Dalam in Jarnbi (Continuities and discontinuities), Mabissu (Buginese dance ritual), Makyong Performance in province of Kepulauan Riau, Bedalung: oral tradition of Suku Laut (the Sea Tribe) in Province of Bangka Belitung and the art of "Tenun Ikat Flobamora" in East Nusa Tenggara.
• In cooperation with the national education department provides scholarships namely study of oral traditions program (MoU for five years 2009-2010). This program prepares grants a scholarships especially for this programmed for M.A. students and PhD student in Indonesia. Participants are young lecturers
from various universities around Indonesia. After completing their studies are expected to return home to teach at various universities This program also to train and prepare a number of scholars for research and
fieldwork on endangered languages and cultural activities in different areas all over Indonesia. Primarily it is necessary to conduct a general survey to understand the present situation of intangible cultural heritage in Indonesia, and to plan a strategy of protecting the most endangered species.
• Besides that, ATL is preparing Internasional Seminar and Festival of oral tradition in Bangka on November 2010 (Lisan VII Festival).
Coopération:
As matter of fact, the "spearhead" of the ATL's success is the speakers or storytellers, the shamans, the syeh (teachers ofIslam), the datuk (the elders), and tribal elders from various regions in Indonesia. Nevertheless, we have to express our gratitude to the researchers and resource persons who helped ATL in designing and carrying out our revitalization and accompanying programs i.e. Drs. M. Hamidi, M. Hum (Jakarta), Dr. Tabir Sitepu (Medan), Prof. Dr. Suripan Sadi Hutomo (Surabaya), Dr. Aminuddin (Malang), Prof. Dr. Mursal Esten (Padang Panjang). In addition, we would like to express our most sincere gratitude to cultural experts and artists, such as the late B.M. Syamsuddin (Pekanbam), King Hamzah Yunus (Penyengat Island), and Tengku M. Atan Rahman (a Mak Yong artist from East Bintan).

Date de création: 1990
Domaine(s):

- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Objectifs:
The Association of Friends of Brazilian Folk Art represents the Casa do Pontal Museum, the largest and most important museum of folk art in Brazil. The museum has a collection of more than 8000 works of artists from throughout Brazil. The mission of the museum is to preserve the memory and to recognize and appreciate Brazilian Folk Art through its research, education and conservation activities, and by showing its collection as widely as possible.

The understanding of folk art in Brazil has taken us to a vast number of areas: from the music of the song books to talent shows and performances; from cheap pamphlets to handicrafts; from local festivals to folklore; from theater to street games, from art to artisans. Works that reveal important features of the culture in which they emerge.

The goal of the research work at the Casa do Pontal Museum is to add to the knowledge of folk art and to recognize and appreciate its historical and cultural importance by dedicating its efforts to research about the collection, the artists, about rural and urban cultural themes in Brazil and economic characteristics represented in the field of Brazilian Folk Art. Research starts with the works in the collection and moves to the symbolic universe in which this production is contained, and, at the same time, to which it takes us. It is equally concerned with the communities in which the artistic production takes place in the context of a tradition of knowledge and practical experience, and with the artists who are known for the uniqueness of their work. The research sector is also dedicated to the understanding of the projects of recollection and social function of the activities represented in the collection. In addition, it carries out activities to help understand the social-historical context in which folk artists arises.

This research forms the basis for the work of bringing folk art to public attention, through educational activities (educational tours of the collection, seminars and workshops for the continuing education of teachers and social workers) as well as through cultural activities (publications and exhibits).
Activités:
Identification, documentation and research
Currently, but the principle research project of the institution is called “Pathways of Folk Art” supported by FINEP, an agency of the Ministry of Science and Technology, BR, that deals with the process of the spread of artistic skills in traditional communities in the states of Inas Gerais, Pernambuco and Ceará. The results of the research projects include the safekeeping, encouragement and diffusion of the cultural and artistic heritage of these communities through publications and exhibits. The Museum maintains a site “Brazilian Folk Art” on the Internet (www.popular.art.br) with priorities and references for artists, themes and locations related to partisanship and folk art. In 2002, we published “The World of Brazilian Folk Art”, which has become a reference work in the field.

Preservation, Protection
The care and preservation of the collection is one of the missions of the Casa do Pontal Museum. With a collection containing more than 8000 works, made from various kinds of materials, the works – most of which were produced more than four decades ago -- are thoroughly cleaned, treated for pests, meticulously restored. This painstaking work is necessary because most of these works were made with poor quality organic materials that deteriorate quickly. This has required the institution to develop techniques in this area. Our expertise has been recognized by UNESCO which requested the institution to publish “Notes on the Conservation and Restoration Of Brazilian Folk Art”, (2008), available at:
http://www.brasilia.unesco.org/areas/cultura/institucional/
publicacoes/livros/cadernoartepopular

Promotion, Enhancement
Despite its cultural and tourism potential, Brazilian Folk Art is not widely known. There are artists in every state that testify to the vitality of folk art production – marked by tradition and constant renewal - recognized as an expression of Brazilian culture. The Museum is dedicated to exhibiting Brazilian folk art throughout the world and has already held 40 exhibits in 14 countries.

Transmission, Formal or Non-Formal Education
In the Educational and Social Program has been developing, since 1996, with the goals of disseminating information about folk art and providing access to the collection. The Program consists of: (i) animated tours of the permanent exhibit at the Museum, for students and participants in social programs; (ii) workshops on popular manifestations, presented by artists and researchers in the area. Since its inception, more than 200,000 visitors have participated. In 2008, it was awarded Honorable Mention of the We Are the Heritage Award, (Andrés Bello International Agreement), and Honorable Mention for the Darcy Ribeiro Award for Educational Activities In Museums (IPHAN).

Members of the Organization

Angela Mascelani (Museum Director Cassa do Pontal Museum, 2004-to date) – PhD Cultural Anthropology, IFCS, 2000, Masters in Visual Anthropology EBA (1996) both from the Federal University of Rio De Janeiro. From 1996-2004 contributed to the creation and implementation of a new model for institutional management. Participated in and directed various research projects in cultural heritage with financing from CAPES, UNESCO, FINEP, FAPERJ and others: the Commerce in Artisanship in MG (FINEP, 2004-2008). Curator of the Brazil exhibits in France, Belgium, Argentina, India. Author of "O mundo da Arte Popular Brasileira" (2002), and "Caminhos da Arte Popular: o Vale do Jequitinhonha" (2009). Member of the ABA (Brazilian Anthropology Association), and the Heritage Education Laboratory and the NUPEC – Nucleus For Research And Studies of Cultural History/UFF.

Lucas Van de Breque, (Head of projects for institutional development) – Masters in Production Engineering from COPPE UFRJ, research in the area of Museum management. Undergraduate degree in economics, from the Economics Institute/UFRJ,, research in “Economics of Culture”, with focus on Museums. Participated in the Management of, and Photographer for, Caminhos da Arte Popular: o Vale do Jequitinhonha ( 2004 --2009), activities for the appreciation and social inclusion of communities that produce Artisanship and Brazilian Folk Art of the Vale do Jequitinhonha, MG, and participated in a publication of the book Caminhos da Arte Popular: o Vale do Jequitinhonha (2009).

Joana Corrêa (Head of projects for institutional development)—specialist in Cultural Management, research in National Program for Cultural Heritage. Co-author of Museu Vivo do Fandango (2006) and organizer of the Book-CD “Na Ponta do Verso: Poesia de improviso no Brazil”(2008). Coordinated courses on the preparation and management of cultural projects for traditional communities participating in the Plan for Safeguarding The Jongo Of the Southeast with links to the Fandango Caiçara on the Coast of the South and Southeast. The Museu Vivo do Fandango project, which she coordinated, involving research and encouragement of manifestations of the Caiçaras on the South and Southeast Coast of Brazil, was indicated by the Consulting Counsel Of Cultural Heritage Of Brazil to UNESCO in 2009 as an example of relevant experience in safeguarding cultural heritage.

Flora Moana Van de Breque (researcher) – Masters degree in Sociology and Anthropology from UFRJ. Research in the area of cultural heritage (Cazumba in Maranhão). Undergraduate degree in social sciences from UFRJ (2007). Participated in the research project Caminhos da Arte Popular: o Vale do Jequitinhonha.
Coopération:
To register and spread practices related to the creation of folk art and traditional artisanship, contributing to the appreciation of its multigenerational heritage. The project uses an anthropological and participatory approach, emphasizing two perspectives: the appreciation of what is being done and the recognition of those who do it. The Educational, Social and Research Program connects with the artisans and artists at one end of the process and transmits and creates a new audience at the other. It provides benefits to public schools, social programs for low-income communities through educational activities, where many of the participants enter into contact with Brazilian folk art for the first time. They began to see the artists and artisans as cultural producers, individuals with their own unique characteristics, whose production should be respected and supported. It promotes the appreciation of artistic and cultural production for groups as well as individuals, as they embody a heritage of generations. This involves a deep and thorough research effort, with a strong anthropological bias, and emphasizes and respects the activities of local authors, an appreciation of excluded groups and cultural values that are passed on orally and of interest to the participants. The emphasis is on participation, and brings into play those who have the knowledge passed on by their ancestors. Because it is based on the content and thematic scope of the collection that is on exhibit, that covers the production of sculptures and three-dimensional objects made by lower income populations, connections and correlations with history, art, folklore and Brazilian culture are established.

The training of educators and socio-cultural managers is included in this process and is an instrument to assist in the appreciation of producing communities. This takes place through workshops and seminars, and includes all the seminars held with the presence of artists and/or artisans who contribute actively to the permanent work of dissemination performed by the institution. The methodology used is participatory in nature, and the participants are essential interlocutors in the process of a collective construction of the knowledge that is reproduced.

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Brésil

Objectifs:
To promote and respect cultural, political and economical autonomy of indigenous peoples and their rights to self-determination; to stablish political alliances with indigenous peoples in their struggle for land recovery and the exclusive use of the natural resources within their territories; to monitor, in a critical, purposeful and independent way, governmental guidelines and policies concerning indigenous affairs; to inform national and international public opinions about the social situation, struggles and rights of indigenous peoples; to advance the protection of indigenous lands, their natural heritage and ecosystems; to promote, in partnership with indigenous peoples, the constitution and consolidation of autonomous and specific educational and health systems; to stimulate and promote research activities and scientific and cultural informations on indigenous issues.
By promoting actions that improve the autonomy and self-determination of indigenous peoples, Anaí contributes to preserve and disseminate their intangible cultural heritage. Through the consolidation of the indigenous educational system, traditional knowledge, as rituals and native languages, as also as specific learning processes, are revitalized and valued. The development of research activities enables the identification and characterization of sociocultural practices, as well as their reproduction and transformation over the years. Since its foundation, documents produced by Anaí – publications, institutional documents, videos and photos – compose an archive opened to public consultation, which is an important resource for the preservation and difusion of indigenous sociocultural heritage.
Activités:
For over thirty years Anaí has been dedicated to defending and promoting the rights of indigenous peoples to self-determination and cultural values, and more broadly to the recognition and respect the sociocultural diversity of Brazil. Through different kinds of activities, concerning education, health, environment, sustainability and culture, in cooperation with indigenous peoples and their associations, it has been promoting the safeguard of their intangible cultural heritage. During three decades the consolidation and conservation of a documental archive has been a very important action, gathering a valuable and diverse testimony of the history and memory of indigenous social and cultural movements in the Northeast-East region of Brazil. It's worthy to remember that this region, composed by the states of Piauí, Ceará, Rio Grande do Norte, Paraíba, Pernambuco, Alagoas, Sergipe, Bahia, Minas Gerais e Espírito Santo, it's the oldest colonization area of Brazil. Thereby the indigenous populations settled in these territories suffered with a violent colonial process; some ethnic groups disappeared and others had their identities denied over centuries. When Anaí began its work, there were in this region only 14 recognized ethnic groups by brazilian state with a population of approximately 15.000 people altogether. Nowadays there are more than 60 recognized ethnic groups with a total population of more than 150.000. The intense struggle for ethnic recognition and promotion of indigenous cultural and social rights was supported by Anaí, which has been providing qualified information to monitor governmental guidelines and policies.
Since 2009 Anaí is developing an specific project to preserve, expand and publicize its archive. Almost one thousand documents were scanned and organized in a database which in a few months will be available to public consultation through the Internet. More than one hundred academic thesis in Anthropology, History, Education, Linguistic and other disciplines concerning indigenous peoples from all states of the Northeast-East region of Brazil were listed by our researchers and have been collected in their digital format. With the formal agreement of their authors, they have also been organized in our database. The project also provides financial resources for the acquisition of 100 documentary and ethnographic videos and 200 books related to indigenous affairs, which will significantly increase and diversify the collection. Amongst these multiple kinds of documents there are works made by indians themselves, and many of them were developed within cultural projects assisted by Anaí.
Along the years many projects promoted by Anaí in partnership with indigenous and governamental institutions were extremely important to safeguard intangible cultural heritage. Since 2007, in partnership with the Ministry of Agrarian Development and the Tupinambá commmunity of Serra do Padeiro village, in Bahia, Anaí has been developing an agroecological project which aims to promote and revitalize traditional cultural practices concerning the management of land and its fauna and flora resources. Similar projects were developed in cooperation with the Kiriri people, also in Bahia (2005), and the Tupiniquim and Guarani, in the state of Espírito Santo (2009-2010). For the last four years, in partnership with indigenous associations, an italian association and the Federal University of Minas Gerais, Anaí is supporting the conception, construction and development of the Center for Xakriabá Culture, in Minas Gerais. Every year Anaí promotes cultural and political events to celebrate the Indian Day (April 19th) and to inform regional society about indigenous issues.
Anaí supported many documentary videos and films about the cultures and histories of indigenous peoples of Brazil, as for example "Meu Povo Conta", about the Kapinawá people, in Pernambuco (2006), and "Carnets du Brésil", a Franco-German production about brazilian colonization from the point of view of today's indigenous groups. Since 1984 Anaí has promoted the publication of informative materials to indigenous and non-indigenous schools. In 2007, in partnership with the Ministry of Education and indigenous school teachers, it produced three books that were produced and distributed in indigenous schools: "Mangute e Goya Pataxó", "Uma História de Resistência Pataxó" and "Memória Viva dos Tupinambá".
Currently, Anaí has 49 members, with different academic backgrounds (Anthropology, History, Law, Linguistic and Ethnomusicology). Many of them are recognized researchers and university teachers, whose academic works help to preserve and publicize indigenous cultures and histories, and have a large experience in health, human rights, sustainability, environmental and educational issues. Anaí's organizational structure is composed by a Board of Directors and an Audit Committee with five members each, and there are two employed professionals: one Executive Coordinator and one administrative support.
Coopération:
All activities promoted by Anaí are developed in cooperation with indigenous peoples and their associations, in order to guarantee their self-determination. Its projects are conceived according to their demands and in permanent dialogue among Anaí's professionals and communities involved. Moreover, members of these communities directly participate in their implementation. In the agroecological projects mentioned above, for example, indians themselves work as local monitors, and the activities are supported by the communities. Anaí promotes intercultural exchange through the coolaboration of indigenous teachers in the conception and execution of educational activities for non-indians.
On the other hand, the support given by Anaí to governmental and non-governmental institutions aim to promote and respect brazilian sociocultural diversity recognition in the conception and implementation of public policies. Since its foundation, Anaí has also been supporting the participation of indigenous leaders in government posts.
Furthermore, successively more events and projects have been developed by the indigenous communities themselves, and because of its institutional history Anaí is usually invited to collaborate with these initiatives.

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Espagne

Objectifs:
The objective of the organization is mainly the study of the Fallas Festival, urban festival from Valencia and others cities through the region. It is linked to European Carnival festivities, has important components of popular satire, festive sociability, artistic expression, artisan practices and singular techniques. It is also felt by the community involved as an importart signal of its identity.
The Associació d'Estudis Fallers (ADEF) field of study is extended to other festivals including fire and ephemeral manifestations of art and its relevance and importance to the intangible cultural heritage of Valencia (Spain). Likewise, are also an important objective for the association to publicize and promote the heritage aspects of the festivities related to the use and rituals of fire, promote the research related to them and create opportunities for reflecting on the importance of heritage management in popular festivals.
Activités:
The activities of the association address in different ways to safeguard the tangible and intangible heritage generated by the festival of Las Fallas, as an example of a popular celebration of wide dissemination and social and identity implications. Without being exhaustive, we highlight the following activities:

Identification, documentation, research:
Call and organization for Jaume I Congress on Popular Cultures and Fire Festivals (Congreso Jaume I de Cultura Popular i Festes del Foc,1995)
The inventory and reasoned catalogue of Fallas Museum of Valencia, especially characterized by its unique collection and intangible cultural practices linked to it (2000-2004)
Issue of the Revista d'Estudis Fallers since 1995: annual scientific journal that publishes original research papers about Fallas Festivals and other celebrations of fire. Journal meets the scientific standards at the reception and approval of articles.
Design and implementation in 2005 of the Center for Documentation of Fallas festival with the City Council of Valencia for the collection of written, audiovisual and intangible documentation catalogue and archive for the free access and consult of researchers.
Participation in CARNVAL Project. Ephimeral Heritage on the European Carnival Rituals (carnval.blogs.upv.es), co-funded by Creative Europe Programme of the European Union to promote the variety of Europe’s historical and social realities by disseminating some of its most European Carnival rituals and the cultural and creative sectors associated with them.

Preservation and protection:
Design and development of thematic exhibitions on the creative and technical aspects of the Fallas ("Falles i art: 40 anys transitant per la frontera", 2008 and "La Falla: un artefacto tecnológico" 2011) and on the productions of Fallas "llibrets" (anual books published by Fallas Popular Comittees as a part of Cultural Heritage (El llibret de falla 1850-2014, 2014).

Promotion and improvement:
Organization of "Les falles a la Nau" discussion sessions, since 2005 in collaboration with University of Valencia, where different agents involved in the Festival come together to reflect on interesting issues, especially on heritage, promotion, protection and enhancement.
Since 2005 the association awards the best article of reflection and disclosure of Fallas festival: The Enric Soler i Godes Award.
Organization ot the Mostra de Llibrets de la Comunitat Valenciana to promote the Llibrets de falla, native publications edited by fallas comittes, to implement synergies between the different agents implied and to work in the consolidation of this cultural field.

Transmission and formal or non-formal education:
Organization, in collaboration with the Secretary of Tourism of the Generalitat Valenciana (regional government), of several editions of a training course on the Fallas festival and its intangible cultural heritage for official tour guides.
Realization of different divulgation talks and lectures on the history of the Fallas festival in collaboration with festive and cultural associations.
Participation in seminars and scientific meetings offering unpublished works on social and heritage importance of the different elements of the festival.

Revitalization:
Retrieval and update, in collaboration with the Valencia City Council, of ancient festive events like "Cavalcada del foc" a parade of fireworks that connects with the festive tradition of mediterranean fire and had ceased to be held in 1936.

The association is made up of sociologists, linguists, journalists, cultural managers, museum and tourism management professionals, art historians and artisans and artists, all of them with a personal and professional involvement with the cultural heritage. Thus, it is established as a multidisciplinary group working together on different projects of research and enhancement of the cultural aspects of festival. In addition to the specific training of each of the members, a continuous exchange of information that allows to extend the knowledge of the other members, so that skills and competeces in the field of cultural heritage immaterial are exponentially increased.
Coopération:
During regular activity, the association has been working with the following groups and individuals:
Valencian Museum of Ethnology in campaigns for the identification and enhancement of the documentary and cinematographic festivals-related heritage.
Valencia City Council in the inventory and cataloguing of the Fallas Museum, in the design and implementation of the Documentation Centre of the Fallas festival and the recovery of missing festive events.
Generalitat Valenciana (regional government), in the design and realization of exhibitions on intangible cultural values linked to the festive literature.
Junta Central Fallera (local festive committee) in works for developing new measures to promote cultural heritage linked to fire festivals.
Federations of Falla committees, associations and local committees, in organizing and conducting various activities to publicize the festival of Las Fallas and other popular festivals: Federación Benicalap-Campanar, Federación de Fallas de Gandia, Junta Local Fallera de Xàtiva, Junta Local Fallera de Dénia, Junta Local Fallera de Alzira, Junta Local Fallera de Paiporta, Federación de Fallas de Borriana, Falla La Malva de Alzira, Falla El Mocador de Sagunt, Falla Borrull-Socors, Falla Pere Cabanes-Joan XXIII, Falla Na Jordana, Falla Marqués de Montortal-Berni i Català, Falla Sant Roc de Torrent, Falla El Canet de Cullera, Falla Santa Anna de Cullera, etc.
Gremio Artesano de Artistas Falleros de Valencia, in the catalogue and enhancement of the Museum of the Fallas Artists and in the restoration of some of its pieces.
Universitat Politècnica de València, in the realization of exhibitions that have an impact on the research and promotion of intangible artistic elements of the festival of Las Fallas.
Universidad Cardenal Herrera-CEU, in organizing a conference on representation of science in the Fallas Festival.
Universitat de València, in organizing seminars and conferences on the festive heritage, its promotion, its protection and its enhancement.
Consell Valencià de Cultura and Acadèmia Valenciana de la Llengua, in the writing and publication of books and monographs on the Fallas Festival.

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

France

Objectifs:
L’association oeuvre à la conservation et à la diffusion du patrimoine culturel occitan.
Ses activités s’étendent dans plusieurs domaines : recherche, sauvegarde, édition, diffusion, création et formation.
Elle mène un important travail de recherche ethnologique, essentiellement dans l'Occitanie. Elle effectue aussi des investigations au Portugal et au Brésil. Son centre de ressources regroupe l’ensemble des fonds documentaires recueillis et numérisés (environ 6000 heures de collectage sonore, 17000 images, documents audiovisuels et manuscrits) ainsi que de nombreux ouvrages et phonogrammes édités concernant les cultures régionales et les traditions orales du monde entier. L’ensemble des fonds documentaires est repertorié, informatisé et consultable par tous grâce au logiciel Alexandrie.
Afin de restituer les connaissances acquises, l’association réalise de nombreuses publications. La collection «Mémoires sonores» est centrée sur le patrimoine immatériel. Ouvrages thématiques, monographies, disques sont le fruit des enquêtes en archives et sur le terrain. Elle est riche de récits de vie, de témoignages sur la vie quotidienne, sur les savoir-faire et les croyances populaires, riche de contes, chants, musiques et paysages sonores.
Le groupe de musique La Talvera permet la diffusion de ce patrimoine à tous les publics à travers : concerts, bals, soirées contes, animations scolaires, etc. Outre le répertoire traditionnel collecté directement par l’association, les musiciens proposent un important répertoire de création.
L’association anime des classes culturelles, artistiques, des stages de formation consacrés à l’apprentissage de la langue occitane, des danses, du chant, des instruments de musique. Elle propose des conférences, colloques sur des sujets liés à ses recherches. Plusieurs expositions sur différents thèmes : musiques traditionnelles, êtres fantastiques, langages sifflés ou charbonniers de Grésigne sont disponibles en
location.
Avec ses différentes salles de documentation, exposition, concert, animation, son studio et sa régie, le CORDAE/La Talvera est :
- un centre de recherche, de ressources, et de création ouvert à tous les publics ;
- une vitrine régionale pour la culture occitane et les traditions orales ;
- un équipement culturel de proximité pour les populations cordaise, tarnaise et des régions limitrophes, également destiné aux touristes et au public étranger en visite dans la région.
Activités:
Activités permanentes :
- recherche : enquêtes de terrain, recherches en archives et bibliothèques, enregistrement de terrain (magnétophones Tascam et Nagra), recherche de photographies.
- documentation : un employé est chargé de la numérisation des fonds sonores (logiciel Samplitude), et audiovisuels (logiciel Magix Edit Pro). Un autre employé est chargé de l'analyse de ces fonds (logiciel Alexandrie) afin de les rendre accessibles au public. Un autre employé est chargé de la numérisation et de l'analyse documentaire du fonds iconographique (logiciel Adobe Photoshop et Alexandrie). Accueil et aide aux recherches des différents publics.
- édition : de livres et disques à partir du collectage du patrimoine immatériel.
Publications récentes : CD/ Al son del diableton : Anthologie de l'accordéon traditionnel occitan - livre-CD/ Nadals d'Occitània : Chants de Noël en Occitanie - DVD/ Per plan las dançar : Danses d'Occitanie (Albigeois, Quercy, Rouergue) - CD/ Repentistas nordestinos : Troubadours actuels du Nordeste du Brésil - livre/ L'épopée du rock noir :
Chroniques des musiques actuelles dans le Carmausin et Midi-Pyrénées.
- formation : animations scolaires organisées pour chaque année scolaire, en relation avec les conseillers pédagogiques en occitan et le Conseil général du Tarn. Séminaires, colloques, rencontres avec différents chercheurs. Intitulé du dernier colloque : Un monde qui bourdonne ou la vie palpitante des cornemuses (12, 13 et 14 décembre 2008 à Gaillac - 81).
- diffusion : restitution des savoirs collectés par le biais des expositions, des conférences, des concerts et bals du groupe de musique La Talvera, de la vente des publications à la boutique (23, Grand'Rue de l'Horloge - 81170 Cordes) et sur le site de l'association : www.talvera.org.
Les travaux récents portent sur :
- Le légendaire des mégalithes et traces rupestres dans le Parc Naturel Régional du Haut-Languedoc (Tarn et Hérault). Plusieurs conférences ont eu lieu en 2008, 8 autres sont prévues durant l'été 2009. Deux expositions ont été présentées en 2008. Ce travail aboutira à terme à la céation d'une exposition permanente au Musée Municipal de Préhistoire Régionale à Saint Pons de Thomières (34) et à la mise en ligne de documentation sur ce thème, sur le site du PNRHL : www.parc-haut-languedoc.fr.
- Les traditions maraîchères des hautes vallées du Tarn. Ce travail donnera lieu à la parution d'un ouvrage, à une exposition photographique itinérante et à des conférences.
- Le canton de Castelnau-de-Montmiral (ouvrage d'ethno-histoire en préparation). La présentation de l'ouvrage dans les différentes communes du canton sera accompagnée d'une exposition photographique et de conférences.
Le personnel bénévole et salarié :
- Daniel Loddo, bénévole : chercheur, ethnologue, ethnomusicologue, membre du groupe La Talvera. Diplômé des Hautes Etudes en Sciences Sociales - DEA en Langue et Civilisation occitanes.
- Céline Ricard, bénévole : documentaliste, chanteuse du groupe La Talvera. Maîtrise en Lettres modernes sur la littérature orale.
- Cyril Pochelon, salarié : assistant de sauvegarde du patrimoine sonore et audiovisuel. Collectage et numérisation. Brevet de Technicien Supérieur en audiovisuel, option son.
- Véronique Degoul, salariée : agent de développement du patrimoine oral. Collectage et analyse documentaire. Diplôme Universitaire Médiathèque et Technologies, option documentation. D.E.U.G. espagnol, option occitan.
- Alexandrine Bach, salariée : agent de développement du patrimoine oral. Chargée du collectage sonore et iconographique et de la diffusion.
- Miquèu Tagliaferri, salarié : chargé de la numérisation et de l'analyse des documents iconographiques.
- et d'autres employés et bénévoles pour le fonctionnement de l'association, et intermittents du spectacle pour le groupe de musique.
Coopération:
Le CORDAE/La Talvera travaille en relation avec le Conseil général du Tarn, le Conseil régional Midi-Pyrénées, le Ministère de la Culture (Mission Ethnologie), la DRAC Midi-Pyrénées (Direction Régionale des Affaires Culturelles), et l'Europe.
Depuis 30 ans de travail sur le terrain, aux côtés des informateurs, des témoins et des acteurs de la vie culturelle, nous avons constitué un territoire culturel et artistique autour de la culture occitane et des autres communautés implantées dans la région.
Nous travaillons en étroite collaboration avec d'autres centres, dont les études portent sur les traditions orales et musicales, dont Dastum (Rennes) et le Centre occitan des Musiques et Danses Traditionnelles (Conservatoire occitan - Toulouse). Nous sommes adhérents de la FAMDT (Fédération des Associations de Musiques et Danses
Traditionnelles). Nous participons activement à la Commission documentation Midi-Pyrénées afin de poursuivre le travail de mise en réseau des savoir-faire documentaires sur le plan régional. Le CORDAE/La Talvera est également référencé dans Portethno : le répertoire des recherches et ressources en ethnologie de la France.
De plus, notre association est pôle fédérateur de la Région Midi-Pyrénes dans le domaine de la culture occitane et du patrimoine immatériel.
Enfin, nous sommes en relation avec d'autres organismes similaires dans d'autres pays, tels que : Centre de Valorisation du Patrimoine Vivant à Québec (Canada) ; Centro Pistoiese di Documentazione per l'Emigrazione (Maresca, Italie) ; Universidade Federal de Pernambuco (Recife - Brésil) ; Universidade Federal da Paraíba (João Pessoa - Brésil) ; Associazione Culturale “Circolo della Zampogna” (Scapoli, Italie).

7.d. Renseignements supplémentaires:

Le CORDAE/La Talvera travaille en relation avec le Conseil général du Tarn, le Conseil régional Midi Pyrénées, le Ministère de la Culture (Mission Ethnologie), la DRAC MidiPyrénées (Direction Régionale des Affaires Culturelles), et l'Europe.
Depuis 30 ans de travail sur le terrain, aux côtés des informateurs, des témoins et des acteurs de la vie culturelle, nous avons constitué un territoire culturel et artistique autour de la culture occitane et des autres communautés implantées dans la région. Informateurs avec qui nous gardons un contact perpétuel: ils sont informés de l'avancement des projets et participent pleinement à la vie de l'association.
Exemple de collaboration:
- 1996-1997 : Rencontre de familles de charbonniers, d'origine italienne, installées dans le Tarn, et mise en place d'un projet de film documentaire.
-1999: Reconstitution d'une charbonnière à Tonnac et parution d'un film VHS "II canto della carbonara: charbonniers italiens du département du Tarn".
- 2003 : Poursuite du projet de patrimonialisation avec installation d'une seconde charbonnière à Cordes sur Ciel.
- 2006 : Implantation d'une exposition permanente, en collaboration avec le Conseil général du Tarn et les communautés italiennes, par la reconstitution d'une troisième charbonnière à la Maison forestière de Sivens (Castelnau de Montmiral).
- 2008 : A la demande de ces communautés et des communes de la région de Pistoia (Italie): édition d'une seconde version du film documentaire sur DVD, sous-titré en italien.
Nous travaillons en étroite collaboration avec d'autres centres, dont les études portent sur les traditions orales et musicales, dont Dastum (Rennes) et le Centre occitan des Musiques et Danses Traditionnelles (Conservatoire occitan - Toulouse). Nous sommes adhérents de la FAMDT (Fédération des Associations de Musiques et Danses Traditionnelles). Nous participons activement à la Commission documentation Midi-Pyrénées afin de poursuivre le travail de mise en réseau des savoir-faire documentaires sur le plan régional. Le CORDAE/La Talvera est également référencé dans Portethno : le répertoire des recherches
et ressources en ethnologie de la France.
De plus, notre association est pôle fédérateur de la Région Midi-Pyrénes dans le domaine de la culture occitane et du patrimoine immatériel.
Enfin, nous sommes en relation avec d'autres organismes similaires dans d'autres pays, tels que: Centre de Valorisation du Patrimoine Vivant à Québec (Canada) ; Centro Pistoiese di Documentazione per l'Emigrazione (Maresca, Italie) ; Universidade Federal de Pernambuco (Recife - Brésil) ; Universidade Federal da Paraiba (Joao Pessoa - Brésil) ; Associazione Culturale "Circolo della Zampogna" (Scapoli, Italie).

Date de création: 2001
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship
- Anthropologie corporelle

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Formation du public et des formateurs

Pays principaux d'activité:

Autriche, Belgique, Espagne, France, Irlande, Italie, Pays-Bas, Portugal, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord, Suède

Objectifs:
L'AEJST est un réseau d'organisations locales, régionales ou nationales dont le but est la promotion et la défense des jeux et sports traditionnels, patrimoine immatériel de l'humanité. Le réseau est compose de confédérations, de fédérations, mais aussi d'universités, de musées et d'associations de formation.
Activités:
L'activité de base est la mise en réseau des organisations adhérentes pour créer des synergies et alimenter des projets communs : organisation de festivals culturels, de conférences sur la place et le rôle des jeux traditionnels dans la société, de colloques et séminaires, de travaux d'investigation orientes vers l'inventorisation, l'application éducative, récréative ou sociale des jeux et sports traditionnels. Le tout est produit en trois langues minimum: fran9ais, anglais et espagnol.

La mise en réseau est également utilisée pour le soutien à l'édition de revues, de livres, la mise en place d'expositions, mais aussi et surtout pour mutualiser les moyens, le matériel, et les expériences en rapport avec la formation et la pédagogie.

La dernière activité est la fonction représentative du réseau, pour sensibiliser les décideurs au niveau mondial du risque de voir la disparition d'une grande partie de ce patrimoine immatériel de l'humanité que constituent les jeux traditionnels.

Coopération:
Un inventaire des jeux traditionnels d'adultes de 11 régions d'Europe a été réalisé (projet "Play with your heart; share your culture" Jouez avec tout votre cœur, partagez votre culture), regroupant 21 coorganisateurs : fédérations, institutions, musées, universités. Tous les jeux ont été analyses et une présentation significative en a été faite sur notre site Internet. Une vidéo de synthèse a également été produite, en fran9ais, anglais et espagnol (ci-jointe).

Une base de donnée est actuellement en activité auprès des membres volontaires pour répertorier tous les jeux des territoires ou nos organisations sont actives (voir copie jointe d'un jeu).

De nombreuses monographies, souvent les seules en rapport avec ce domaine, ont été publiées par les organisations membres de I'AEJST. Leurs auteurs sont souvent des universitaires.

Date de création: 2003
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
Sauvegarde du PCI en Mauritanie,
mise en place des listes nationales du PCI,
diffusion de la Convention 2003 sur le plan national,
recherche des solutions pour l'amélioration de niveau de vie des communautés,
valorisation et promotion de l'artisanat traditionnel,
promotion des savoir-faire transmis oralement

Date de création: 1965
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Bénin, Brésil, Burkina Faso, Côte d'Ivoire, Fédération de Russie, France, Irlande, Israël, Italie, Pérou, Pologne, Portugal, Sri Lanka

Objectifs:
- Conserver, utiliser et diffuser les cultures traditionnelles et populaires selon la définition
de l'Unesco

- Favoriser la recherche, la sauvegarde, la promotion du patrimoine immatériel

- Promouvoir l'expression vivante des cultures traditionnelles et populaires

- Favoriser les échanges sur le plan national entre les associations françaises de culture
traditionnelle et populaire

- Favoriser les échanges entre celles-ci et les partenaires internationaux et, plus
particulièrement les partenaires européens, afin de contribuer au rayonnement de la à
l'étranger et au développement des échanges culturels d'un pays à l'autre, dans un
esprit de culture et de paix.
Activités:
Après plus de 42 ans d'expérience dans le domaine des cultures traditionnelles, l'ANCT
est devenue aujourd'hui :

Un lieu de diffusion et de création avec une programmation annuelle : des concerts,
bals, et scènes ouvertes, « Massif, Musiques et Danses » : rencontre et concours des
musiques et danses traditionnelles du Massif Central (depuis 23 ans), des résidences
artistiques de création : des rencontres uniques entre artistes de différents horizons
culturels ou musicaux pour donner naissance à des créations originales, des stages et
ateliers : initiation ou approfondissement en danses et musiques traditionnelles d'ici et
du monde.

L'Ecole des Savoirs et des Arts Populaires : des ateliers et stages (masques, dinanderie,
vannerie, marionnettes, sculpture sur bois, un lieu de transmission entre générations),
des formations : organisation de stages BAFA sur le thème « Cultures d’ici et d’ailleurs",
les Rencontres Internationales de Jeunes (RIJ) : proposé à une quinzaine de jeunes du
monde entier, en partenariat avec le Ministère des Affaires Etrangères, il s’agit de
valoriser un territoire et la richesse de son patrimoine culturel matériel et immatériel, la «
Quinzaine des Marionnettes du Monde » : une programmation sur un territoire élargi,
présentant les marionnettes d’un pays invité : Chypre, Slovaquie, Sicile, Togo… avec
spectacles, ateliers, expositions. Un travail de sensibilisation important mené auprès des
scolaires.

Le Festival "Les Cultures du Monde" : Cette programmation est la manifestation phare
de l’association : vitrine du travail mené tout au long de l’année, elle est un produit
culturel reconnu, porteur des valeurs et du savoir faire de l’association en matière de
programmation internationale. Pour sa 35ème édition (2008), l’association a bénéficié du
patronage de l’UNESCO. De nombreux temps forts ponctuent cette manifestation,
permettant au public de découvrir les cultures du Monde sous toutes ses formes :
spectacles et concerts, soirées de cérémonies et rituels, ateliers, symposium
international et projections / débats expositions, repas typiques.

Des projets de coopération locaux et internationaux : (voir descriptif détaillé dans "Projet
Associatif") avec des projets tels que : Culture of Peace in the Land of Olonkho,
Masques et Mascarades, Eté des Cultures du Monde, le réseau Massif Central …
Une forte présence dans les réseaux et un rôle d’ingénierie culturelle :

Le rôle des réseaux est essentiel dans le travail de l’association, aussi est elle impliquée
dans des projets à diverses échelles : Réseau de structures culturelles Musiques et
danses traditionnelles du Massif Central, Réseau de Centre culturels de l’Union
Européenne, Extra ! (un réseau de 6 partenaires européens travaillant sur les
métissages de traditions), Forum Culturel Européen, CIOFF, FAMDT

Par ailleurs, l’association est impliquée dans le montage de projets locaux dans
différentes pays du Monde, en tant que conseil artistique ou technique : Rencontre des
peuples autochtones d’Amazonie (Brésil et Venezuela), Festival « Les cultures du
Monde » de Akko (Israël), Coopérations en Afrique de l’Ouest ..

Coopération:
- Trésors Humains Vivants : travail de collectage qui a permis de recenser 350 porteurs
de savoir-faire traditionnels locaux (métiers, artisanat, parlers, agriculture…)

- Ecole des Savoirs : issue du travail mené ci-dessus, elle permet de valoriser ces
savoir-faire menacés à travers stages et ateliers (dinanderie, vannerie, sculpture,
marionnettes, lutherie…)

- Projet Massif Central (en projet) : valorisation des musiques et danses traditionnelles
du Massif Central et mise en place d'une réseau inter-régional et national de diffusion et
de création

- Ingénierie culturelle : l’ANCT accompagne par du conseil ou de l’aide à la
programmation artistique des porteurs de projet locaux et nationaux : Fête des
Vendanges à Chareil-Cintrat (03), Carnaval de Nice (06), Carnaval de Loupian (34)
International (entre autres)

- Pologne : Jean ROCHE, Directeur Artistique de l’ANCT, accompagne depuis plusieurs
années le festival de Zakopane pour du conseil à l’organisation

- Israël (en projet) : appui à la création d’un festival des cultures du monde dans la vieille
ville d’AKKO – St Jean d’Acre

- Yakoutie (Russie) : Jean ROCHE est co-directeur artistique de « Culture of Peace in
the land of Olonkho », festival basé sur les pratiques du chamanisme

- Sri Lanka : suite au tsunami de 2004, l’ANCT accompagne la reconstruction du village
de Kosgoda ainsi que la création d’un centre culturel dédié aux cultures traditionnelles

- Amazonie (en projet) : mise en place d’une rencontre culturelle entre peuples
autochtones de la forêt amazonienne (Venezuela et Brésil) en partenariat avec le
gouvernement indigène

- Pérou : aide à la mise en place d'un Centre Culturel avec les natifs de l'Ile de Taquile
(Lac Titicaca)

- Burkina Faso : missions d’expertise auprès du Festival International de Masques et des
Arts de Dédougou (FESTIMA)

- Bénin : accord de coopération avec le Ministère de la Culture du Bénin : diffusion de
groupes Béninois en Europe et dans le monde (2008 : organisation d’une tournée en
Europe de l’Est pour la troupe Towara), formation de professionnels de la culture (2008 :
accueil d’une stagiaire, présidente d’une association de femmes) et coopération sur des
projets régionaux ou internationaux

- Afrique de l’Ouest (en projet ) : mise en réseau d’acteurs culturels du Bénin (Ministère
de la Culture et troupe Towara), de Côte d’Ivoire (MASA : Marché des Arts et des
Spectacles Africains) et du Burkina Faso (FESTIMA) en vue d’une valorisation des
traditions et rituels masqués en tant qu’outil de développement durable.

Date de création: 1995
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Bénin, Burkina Faso, Côte d'Ivoire, France, Mali

Objectifs:
• la revalorisation des valeurs positives endogènes en voie de disparition et la promotion des initiatives de développement durable
• le renforcement des capacités des villages à sociétés de masques pour un développement durable (patrimoine culturel, agriculture durable, sécurité alimentaire, environnement, mobilité rurale, formation, santé, etc);
• la promotion des échanges interculturels sur les sociétés de masques du Burkina Faso et d'ailleurs, en vue de la restauration des identités et de la valorisation de la contribution de ces villages à la civilisation de l'universel.
Activités:
Les principales activités de l'ASAMA sont: i) l'organisation d'un festival international des masques et des arts; ii) la préservation, protection et valorisation du patrimoine culturel matériel et immatériel, iii) la recherche, inventaire sur les sociétés de masques; iv) la diffusion des résultats de la recherche; v) la formation 1sensibilisation au développement; vi) la transmission et l'éducation. A travers ces activités, l'ASAMA s'est bâtie une solide expérience dont les points saillants sont:

a) Le Festival International des Masques et des Arts de Dédougou (FESTIMA) : Quatorze années de programmation biennale, ce festival est la manifestation phare de l'association. Sur le continent africain, le FESTIMA s'est positionné comme le principal cadre d'expression des communautés détentrices de masques. Le festival s'organise autour de i) spectacles de danses et d'exhibitions de masques, ii) exposition, iii) assises à palabre des sages, iv) symposiums internationaux, v) marché des communautés, vi) nuits au village (musiques et danses du terroir) ; vii) concours artistiques interscolaires (dessins, poèmes sur les masques).
b) Le Programme sécurité alimentaire et développement durable: Ce programme vise la diffusion d'un paquet technologique en matière d'agriculture durable en vue du renforcement des capacités des villages à sociétés de masque au Burkina Faso particulièrement dans la région de la Boucle du Mouhoun. Initié depuis 2004, le programme a permis de réaliser plus d'une trentaine d'ateliers de formation, de voyages
d'études et d'échanges d'expériences au profit de petits producteurs sur les thèmes couvrant l'amélioration de la productivité agricole et pastorale, la gestion durable des ressources naturelles, la promotion des activités génératrices de revenus (AGR) et le renforcement des capacités institutionnelles et l'organisation des communautés villageoises.
c) Les projets de coopération locaux et internationaux: dans ce cadre l'ASAMA a initié en 2004 en collaboration avec l'Association nationale culture et tradition (ANCT), France, une mission de coopération et de diffusion du FESTIMA au Festival « les cultures du Monde» à Gannat, en France et au Festival international du folklore en octodure (FIFO) à Martignie, en Suisse. En 2008, toujours en coopération avec ANCT, l'ASAMA a présenté lors du Festival « les cultures du monde », une exposition sur « les
richesses et les menaces du masque en Afrique de l'Ouest» et a participé au symposium international « traditions: de la vie à la scène ».
Plus récemment, en 2009, l'ASAMA a initié avec six partenaires de l'Afrique de l'Ouest, un projet de coopération pour la valorisation des masques en Afrique de l'Ouest. Ce projet est en cours d'exécution et est financé par le Fond Régional pour la Promotion de la Coopération et les Echanges Culturels en Afrique de l'Ouest de la CEDEAO, de l'UEMOA et de l'Union Européenne. 1/ devrait s'achever en novembre 2010. Il prévoit de réaliser: i) le recensement sous forme d'un inventaire d'au moins 200 villages à sociétés de masques dans quatre pays (Bénin, Burkina Faso, Côte d'Ivoire et Mali), ii) l'organisation d'un symposium sous régional sur le thème «Caricatures, dérives et détournements du masque», iii) la mise en place d'une base de données sur les sociétés de masque des quatre pays; iv) la publication du premier rapport biennal sur
les sociétés de masques vivantes de l'Afrique de l'Ouest; v) l'exposition itinérante dans les quatre pays sur les richesses et la fragilité de la tradition du masque en Afrique de l'Ouest; vi) la mise en place du Centre international d'interprétation sur les masques à Dédougou ; vii) la mobilité d'au moins 22 groupes de sociétés traditionnelles de masques provenant de huit pays (Bénin, Burkina Faso, Côte d'Ivoire, Guinée Conakry, Mali, Nigéria, Togo et Sénégal) pour les échanges ouest-africains, et iv) la détermination
de circuits touristiques relatifs aux masques.
d) Une présence dans les réseaux: L'ASAMA participe à des programmes de coopération en Afrique de l'Ouest à travers le programme du Conseil international des organisations de festivals de tradition et de folklore (CIOFF - Afrique) pour l'UNESCO. Il est également membre du réseau de Festival en Afrique. A travers, le projet valorisation des masques de l'Afrique de l'Ouest, l'ASAMA oeuvre à la mise en place de réseaux d'experts (chercheurs, et porteurs d'initiatives) sur le thème des masques. Ainsi, l'ASAMA est non seulement active au Burkina Faso, mais également ces actions s'étendent progressivement au Bénin, au Mali, en Côte d'Ivoire, au Togo, au Sénégal, en Guinée Conakry, en France (avec l'antenne ASAMA - France).
Coopération:
Au Burkina Faso
• Recensement de 180 villages à sociétés de masques
• Participation tous les deux ans d'une trentaine de sociétés de masques au
Festival international des masques et des arts de Dédougou
• Tenue de symposium, d'assises à palabres des sages pour échanger avec les acteurs et les chercheurs sur des thèmes divers « masque et environnement », «masques et tourisme », «masque, culture d'intégration ou culture de résistance », «masque et développement », « masque et coopération sud - sud », « masque et renaissance culturelle », « Caricatures, dérives et détournements du masque» ;
• Organisation d'expositions, de concours de dessin avec les écoles du primaire.

Au niveau sous régional et international
• En 2004, une mission de coopération et de diffusion du FESTIMA par et le Groupe du village de Boni, au Festival « les cultures du Monde» à Gannat, en France et au Festival international du folklore en octodure (FIFO) à Martignie, en Suisse.
• En 2008, une mission de coopération de M. Tankien DAYO, Secrétaire Exécutif avec ANeT, en tant que Commissaire pour l'exposition sur « les richesses et les menaces du masque en Afrique de l'Ouest» et communicateur au symposium international sur le thème « traditions: de la vie à la scène ».
• En 2009, coopération avec l'Association Towara Bénin, au Bénin, la Mutuelle pour le développement de Gbofia - Toumodi «Moayé», en Côte d'Ivoire, la Mission culturelle de Bandiagara, au Mali, l'Association Jeunesse Perspective Groupement (JPG- Bénin), Bénin, le Théâtre OSHUMARE, au Bénin, avec recensement de 123 villagessociétés de masques dans ces trois pays (Mali, Bénin et Côte d'Ivoire) ;
• Participation de sociétés de masques du Nigéria, de la Guinée Conakry, duSénégal, de la Côte d'Ivoire, du Mali, du Togo, du Bénin, de la Suisse, au FESTIMA (2002, 2004, 2006, 2008 et 2010).
• 2010, exposition au bénin sur le thème « les richesses et les menaces du
masque en Afrique de l'Ouest»

Date de création: 1985
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- other
- Inventoriage des expressions et des acteurs du patrimoine culturel immatériel.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- - Contribuer à la promotion et à la mise en oeuvre de la Convention - Poursuivre le développement du travail d'identification des acteurs du PCI

Pays principaux d'activité:

Suisse

Objectifs:
OBJECTIFS GÉNÉRAUX:
- Promouvoir le patrimoine culturel immatériel à travers les formes d'expression telles que la musique, la danse, les coutumes, les jeux et d'autres arts traditionnels
- Servir les objectifs de l'UNESCO dans le domaine de la culture traditionnelle
- Soutenir les activités de ses members, en particulier la diffusion du patrimoine immatériel à travers les festivals internationaux d'arts traditionnel du CIOFF Suisse
- En réalisant ces engagement,donner une visibilité concrète à la déclaration de l'UNESCO "Le patrimoine culturel immatériel - un miroir de la diversité culturelle".
(Charte du CIOFF Suisse).

OBJECTIFS SPÉCIFIQUES:
- Contribuer à la diffusion du patrimoine culturel immatériel par l'encouragement à l'organisation d'événements, à une plus large information au sujet du patrimoine culturel immatériel et à l'utilisation des compétences des folkloristes;
- Contribuer à la coopération internationale par la promotion du dialogue et du travail en réseau, la coopération avec les organisations internationales et régionales
- Contribuer à la promotion et à la mise en oeuvre de la Convention au niveau national.
Activités:
Après 25 ans d'activité, le CIOFF Suisse est devenu aujourd'hui:

UN CENTRE D'INFORMATION
L'information comprend d'une part des conférences (Recommandation de l'UNESCO, le rôle socio-culturel des rencontres interculturelles, la sauvegarde du patrimoine immatériel), d'autre part la diffusion auprès des ensembles traditionnels (Définition des catégories d'expressions traditionnelles), des festivals (Contexte culturel de ces événements) et enfin Internet (Rubriques Culture traditionnelle et Patrimoine immatériel).

UN CENTRE DE DIFFUSION
La diffusion du patrimoine immatériel, un des objectifs prioritaires, se réalise à travers les festivals d'arts traditionnels du CIOFF Suisse: les Rencontres de Folklore Internationales (RFI-Fribourg), le Festival International Folklorique Octodure (FIFO-Martigny), les Célébration Interculturelles de la Montagne (CIME-Évolène) et le
Internationales Volkstanztreffen (IVZ-Zurich). Ces événements permettent à un public large et diversifié de découvrir la richesse des cultures et des traditions et le sensibilisent au respect de la diversité culturelle.

UN RÉSEAU
1. Le réseau international des festivals met en relation des ensembles suisses avec les festivals internationaux d'une part et des artistes étrangers avec les festivals suisses d'autre part. Le CIOFF sert de plateforme d'échange et de coopération internationale.
2. Le réseau des compétences comprend d'une part le Répertoire informatique des experts en culture traditionnelle (au niveau international) et d'autre part le Réseau suisse de compétence pour la sauvegarde du patrimoine culturel immatériel (en construction au niveau national).

UN PARTENAIRE ACTIF
2005: Membre fondateur de la Coalition suisse pour la diversité culturelle.
2006: Partenariat avec la Commission suisse pour l'UNESCO pour la réalisation du Forum suisse pour le PCI à Berne.
2007: Collaboration avec la Commission suisse pour l'UNESCO pour la réalisation de la Journée des Conventions 2003 et 2005 de l'UNESCO à Berne
2008: Membre du Groupe de travail gouvernemental pour l'élaboration du projet d'inventaire suisse du patrimoine culturel immatériel.
Coopération:
En tant qu'ONG opérationnelle, le CIOFF Suisse réalise ses objectifs à travers des activités qui le mettent en relation de coopération avec diverses insitutions tant nationales qu'internationales:

COOPERATION NATIONALE:
• la Commission suisse pour l'UNESCO
• l'Office fédéral de la culture (instance ministérielle)
• le Forum suisse pour le patrimoine culturel immatériel
• la Coalition suisse pour la diversité culturelle
• Mutra, Fondation pour les musiques traditionnelles romandes et
• les réseaux de compétences.

COPPERATION INTERNATIONALE:
• CIOFF International
• Réseau des sections nationales du CIOFF (89 pays)
• Réseau des festivals du CIOFF (Plus de 250 festivals dans 5 continents)
• Heemkunde Vlaanderen, Mechelem - Belgique
• Traditions pour demain, Suisse
• Commission - Espace Mont-Blanc

Addittional information
Enregistrement de la « Grande Coraule » à l'Inventaire suisse du PCI

Dès 1995, le CIOFF Suisse est associé en tant qu'expert et chorégraphe par la communauté
gruérienne au renouveau de la «Grande Coraule».
1997 : Réalisation de la Grande Coraule - 500 ans après
2003 : Réalisation de la Grande Coraule - le Retour
En 2009, le CIOFF Suisse apporte son expertise pour la fiche d'enregistrement de la Grande
Coraule à l'Inventaire suisse du PCI annoncé le 02.09.2010 pour 2011-2012.
www.lebendige-traditionen.ch

Conférence Transfrontalière Mont-Blanc EMB: France - Italie - Suisse

Contribution au Schéma de Développement durable avec les 35 Communes de l'EMB
2004 : Contribution à la Consultation générale sur le Schéma du Développement durable Rencontre"
les Alpes en fête"
2006 : Participation active aux rencontres de la Conférence Transfrontalière - Journée de
culture traditionnelle d'EMB Chamonix
2008 : Contribution aux Plans Intégrés Transfrontaliers - PIT - Journée "EMB, Carrefour des
cultures traditionnelles" Chamonix et Martigny
2010: Mise en application du PIT - "le FIFO au Pays du Mont-Blanc" Chamonix - la Salle Finhaut.

Répertoire suisse des expressions et des acteurs du patrimoine immatériel créé par le CIOFF Suisse avec le patronage de l'Office national de la culture.

Ce Répertoire est crée en 2002 en réponse directe aux recommandations de l'UNESCO visant
à valoriser, préserver et revitaliser le PCI. Il couvre les expressions musique, chant, danse,
costume, jeux, théâtre, conte, parler régional, savoir-faire de l'artisanat, cuisine locale, etc. et
comprend actuellement quelque 150 groupes et individus. - Il est appelé à se développer
parallèlement à l'Inventaire suisse du PCI qui a été «lancé» le 02.10.2010.
www.edelweiss.cioff.ch

Internationales Volkstanztreffen Zürich (Festival national multiethnique de Zurich)

Ce festival, membre du CIOFF Suisse, a été créé en 1982. Il permet aux groupes d'immigrés
qui vivent en Suisse et y cultivent leur patrimoine immatériel de le présenter à un large public et,
en même temps, d'apprendre à connaître les cultures des autres communautés ethniques
établies en Suisse.
Chaque édition réunit durant trois jours des ensembles de musique, de chants et de danse,
adultes et enfants, de 20 à 25 pays.
www.volkstanztreffen.ch

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Italie

Objectifs:
According to the item 3 of the statute, in its larger aim of solidarity and social and cultural promotion, the objectives for which the nCircolo" was established are:

a) gathering together all those wno would have interest in the development and promotion of the social, cultural, natural and touristic heritage of Scapoli village and surrounding area;
b) working together in making active the participation of the community to the best safeguard and improvement of the historical, cultural, artistic and natural common heritage;
c) safeguarding and promoting culture and traditions with special reference to the zampogna (the typical bagpipe of Southem Italy that has in Scapoli one of the places where making and playing this instrument is a tradition still particularly alive);
d) supporting and organizing festivities, competitions, expositions, fairs, festivals, meetings, public shows, cultural demonstrations, training courses;
e) assuming initiatives, also in cooperation with the municipality and other authorities and associations, to contribute to the touristic and rural development of the area;
f) publishing magazines and advertising and popular materials according to its aims.

Besides, according to the item 4 the Cireolo carries out its work and initiatives not only in Scapoli's area but also out of it with the aim to favour the exchange and the cooperation between communities and territories.
Activités:
When some inhabitants of Scapoli decided to establish the cultural association "Circolo della Zampogna", the tradition of making and playing this ancient instrument was still deely-rooted in the local community, but they felt the need to preserve this heritage and to transfer it to the new generations. For that, many and various activities have been carried out, involving not only the zampogna makers and players but the whole
community. The main actions can be summarized in the following:
- institution of a Permanent Exposition of Italian and Foreign Bagpipes and of a documentation centre called "Italian Centre of the Bagpipe";
- revitalization of the preceding zampogna Market through the integration with a musical Festival (the Intemational Bagpipes Festival) in which traditional music and new compositions and sounds could meet offering to the young people the opportunity to appreciate the vitality and the potentiality of a so ancient and topical instrument;
- organization of training courses for playing and making the zampogna and to train groups of young people to safeguarding activities;
- participation of the "Circolo della Zampogna" to several meetings, festivals and other initiatives at home and abroad;
- educational, awareness-raising and information activity aimed at the schools of the area;
- publishing of the magazine "Utriculus" (from the Latin name of the bagpipe), CD, DVD, videos and books;
- organization of meetings and other events in cooperation with the Molise University, the Ministry of Culture, the "Abruzzo, Lazio and Molise" National Park and other public institutions;
- promotion (and support to) studies and degree thesis conceming the zampogna and its traditional and present context;
- creation of a network of exchanges and links with Italian and foreign similar associations, cultural and musical institutions, museums, scholars, experts and enthusiast people;
- participation to the establishement of the ICHNet (Intangible Cultural Heritage Network).

Especially relevant, in safeguarding the zampogna cultural heritage has been the experience of the project "Living with the Bagpipe" devised and realized by the Circolo in the ambit of the European Programme "LEADER II". Besides all the other good results in terms of preservation, promotion and revitalization, the project let the Circolo to take the first census of the cultural heritage connected with the zampogna, to collect materials and documents for the Italian centre of the Bagpipe, to realize a transnational
cooperation project called "Common Sounds to the European Rural World" in cooperation with the Local Action Group "North Pennines" (Northumber1ad, UK) and above all to reinforce the link between the community and its heritage.

About the competence and the expertise in the domain of intangible cultural heritage, the personnel and the membership consist in: traditional zampogna makers and players, ethnomusicologists, anthropologists, musicians and musical groups, cultural associations, museums, libraries, researchers, scholars, university teachers, besides
simple enthusiasts.
Coopération:
The "Circolo della Zampogna" was bom from the will of a consistent part of the local community "to do something" to safeguard, to promote and to transfer to the new generations the typical cultural heritage represented by the zampogna. Since its foundation joined the Association several zampogna makers and players that, both as group and individuals, are those who traditionally create, maintain and transmit this kind
of heritage. Besides, most of the activities have been carried out wit the involvement and the participation of the whole community, from its younger to the older members. At this regard, a very important and successful role has been played by the LEADER project "Living with the bagpipe" with which it has been possible to reinforce the relationship between people and their cultural heritage.

Particularly significant is also the annuallntemational Bagpipe Festival in which. for some days, the whole village of Scapoli becomes like a big open-air stage where local people are proud to exhibit their instruments, music, foods, environment, meeting and exchanging experiences with musicians, craftsmen and visitors coming from
everywhere. The festival is organized in collaboration with the Commune and with the local turistic association. There are also involved all the economic and trade activities of the area, people give their help in the organization of the event, place rooms for visitors and musicians, sell gastronomic specialities, etc. In each edition of the Festival the musicians involved, traditional and not, come from all over Italy and each time from 2, 3 or more foreign countries. The event is very well attended (around 20.000 visitors, which is a very large audience for a very small village like Scapoli).

Every year, on the occasion of the Assembly of the members, the Circolo organizes also 2 "Bagpipers Meetings", in Spring an in Autumn, in which the participants analyse what has been done and propose what could better to do in terms of safeguard, research, transmission and promoting of the zampogna tradition.

Date de création: 1997
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Italie

Objectifs:
The Associazione Culturale Carpino Folk Festival is a cultural association, apolitical and non-party, non-profit that aims to achieve the protection, preservation and promotion and enhancement of all artistic and cultural resources, tangible and intangible, Gargano ("spur of Italy") in accordance with the principles set out by UNESCO with the Declaration:. Identity. Diversity and Pluralism.
Its mission is generally operate in favor of transmission between generations.
Since 1996:
1.it realizes annually - in the first ten days of August - the festival of folk music and its contamination called Carpino Folk Festival (last three years more than 80,000 spectators);
2.it identifies and documents the intangible cultural heritage through research and through the collection of written, photographic and audio visual (in conformity with the spirit of the Convention).
3.it plays study activities, and promoting, either directly or by organizing or facilitating meetings, conferences, seminars, exhibitions, artistic and cultural events and music in Italy and abroad - to the best knowledQe and dissemination of cultural activities related popular traditions, everything is working directly involved in initiatives of others or recognizing the legitimacy, or even by giving grants, awards or scholarships; (in
conformity with the spirit of the Convention)
4.it creates and manages electronic and paper archives for storage and consultation ofthe works related to popular music traditions; (in conformity with the spirit of the Convention)
5.it publish and manages websites for the dissemination of works related to popular music traditions; (in conformity with the spirit of the Convention)
6.it does surveillance operations to protect the image of artistic works related to popular music, considering everything is made with reference to the traditional music of the Gargano (in conformity with the spirit of the Convention).
Activités:
The experience gained from their own communities and the protagonists of intangible heritage has enabled the Association to carry out the operations of non-formal transfer of knowledge about the popular arts and crafts and traditional music collection and storage of evidence of intangible heritage Gargano.

Collection and storage of evidence of the intangible heritage of Gargano

Currently the association is engaged in "field research" with many experts who have completed their training, in addition to individual study of all sources into even with direct contact with the witnesses.

The association provides at its headquarters, an extraordinary collection of audio, photographic and audiovisual crucial to the traditional music of Puglia.

Informal transfer of knowledge about the popular arts
-Directly from the bearers of tradition: tambourine, guitar "battente", accordion, dancing
-For many artists revived
-For many expert in the field, including Giuseppe Michele Gala and Giuseppe di Mauro

Informal transfer of knowledge about the arts of traditional
-Directly from the bearers of tradition: tambourine, guitar swing
-For many expert in the field, including Antonello Ricci

Promotion and Enhancement
To promote and enhance the intangible cultural heritage of the Gargano, the association realizes from 14 consecutive years Carpino Folk Festival

Revitalization Projects
-The annual gathering of guitar players flying Gargano.
-The creation of a show based on the repertoire of traditional serenade of Gargano.
-Photo Contest: The Intangible Cultural Heritage Gargano - Award Rocco Draicchio.
-The MEMORIE DI UN TERRITORIO (le antiche vie dei Centri Storici minori del Gargano e le loro tradizioni)
-The project LA VALORIZZAZIONE SLOW 01 UN TERRITORIO (I bazar delle antichevie del Gargano)

Production of COs and books on intangible heritage Gargano.

Management and Booking of "Cantori di Carpino"

Participation and co-productions on CD, Volumes, Documentaries and other subjects

Collaborate to provide movies on intangible heritage of Gargano.

Organising events intangible heritage Gargano

A regional development plan

Auditorium of the popular music of the Gargano
Coopération:
The association provides at its headquarters, an extraordinary collection of audio, photographic and audiovisual crucial to the traditional music of Puglia.

Currently engaged in further field research the following experts who have completed their training in addition to individual study of all sources into being with the direct contact with witnesses:
- Luciano Castelluccia
- Alessandro Sinigagliese
- Antonio Basile
- Michele Ortore
- Giuseppe di Mauro
- Francesco Alaura
- Domenico Sergio Antonacci
- Pio Gravina
- Enrico Noviello
- Nunzio Mangiacotti

Informal transfer of knowledge about the popular arts
Directly from the bearers of tradition: tambourine, guitar "battente", accordion, dancing
- Antonio Piccininno
- Rocco Cozzola
- Nicola Gentile
- Michele Rinaldi
- Antonio Steduto

For a number of musicians revived:
- Roberto Menonna
- Marco di Mauro
- Giuseppe di Mauro
- Enzo Valente
- Nicola Gentile
- Domenico Celiberti
- Pio Gravina
- Nunzio Mangiacotti
- Lorenzo Rinaldi
- Michele Rinaldi
- Enrico Noviello
- Simone Fiscarelli
- Angela Castelluccia
- Luca D'apolito
- Biagio de Nittis
- Nicola Sansone
- Michele Cotugno
- Matteo Ortuso
- Bernardo Bisceglia
- Francesco Maselli
- Angelo Frascaria
- Andrea Resce

For many expert in the field, including Giuseppe Michele Gala and Giuseppe di Mauro

Informal transfer of knowledge about the arts of traditional
Directly from the bearers of tradition: tambourine, guitar swing
- Rocco Cozzola
- Giuseppe Draicchio
- Antonio Rignanese
- Gabriele Orlando
- Enzo Valente

For many expert in the field, including Antonello Ricci

Date de création: 2003
Domaine(s):

- oral traditions and expressions
- performing arts

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Italie

Objectifs:
The objectives to study, practice, study, preservation, establishment of an archive and dissemination of the Ancient folk melodies of Lucania and the whole Mediterranean Basin to rediscover teir ethnic roots geography. The rediscovery of roots and culture of a people depends upon the analysis of music and rituals passed down over time. The memory of a people humble and dignified manner that preserves the ritual of gestures and sounds, flavors and colors of the Mediterranean, meets with the modem sound of
instruments and artists. This encounter produces reverent and composed in accordance with the sounds, a fascinating transposition of melodies belonging to the tradition, and modern artistic comptositions. The renewed and more modem folk music transcands local boundaries to extend and contamination styles, resulting in new and enchanting musical explorations.
Activités:
The activities of the Association is to form a file containing all the ancient fofk melodies of Lucania (Basilieata): songs, chants, the lullabies, songs of the camival, the tarantella, the polkas, mazurkas played at the weddings, dance parties in addition to the repertoire of songs and Mafian devotions. Once you create the archive, making it available to everyone the Library.

Additional information:

The association, in line with its scope of study, practice and disseminate ancient popular music of the
Lucania region, since its beginning has systematically researched and collected traditional music and
materials on the intangible cultural heritage of the Val d'Agri, ranging from religious and non feasts and
rituals to traditional instruments, traditional religious and non songs, documentation of past lifestyles
including photos of specific situations in the various towns of this territory. Particular attention has been
given also to collecting the various versions of religious and non songs, lullabies, love songs, stories and
ways of saying. The results of this complex activity have been on one side collected to create an Archive for consultation on behalf of the local communities and interested people and on the other hand has been
disseminated through the realization of CDs and DVDs, booklets and information pamphlets widely
disseminated both in Val d'Agri and Basilicata and also all around Italy and abroad.

Some of the materials collected have been utilized by the Istituto centra le per la demoetnoantropologia
who has published them in its book on feasts and rituals of Southern Italy.

Other collected materials, in particular photos of popular ancient harps and harpists and recovery of
ancient music played on popular harps and orally transmitted, collected by the association have been
utilized by the First Popular Harp School of the Val d'Agri which was created to re-start playing the Popular
Harp in this territory and intangible cultural heritage connected with this instrument, including techniques
of building and playing.

Research and collection of such materials is implemented together with the community who is the ultimate
target of the activity, as its aims are to safeguard and transmit the memory and knowledge of such rich
intangible cultural heritage in order to offer to the young generations the possibility of knowing and
understanding its cultural tradition and to have the possibility of building on such heritage.

This work has been implemented since many years and has been possible only thanks to the strong link and
empathy established with the local communities. With regard to the Popular Harp, through the constant
work and good relation with the territory developed by the members of the association, the last living
player has been encountered, who presently has returned to playing the instrument and teaching to the 50 young pupils of the school.

The association is non profit and membership is open to all interested people with particular attention to
the communities of the Val d'Agri.

Members of the association are all musicians, singers and scholars interested in the traditional culture of
this territory, they are all members of the local communities who have decided to collaborate together to
safeguard and transmit the intangible cultural heritage of Val d'Agri, a territory under the modernization
impact connected with the oil industry whose population however has deep structural social and economic problems and is at risk of loosing its cultural background and tradition.

Members of the association: Silvio de Filippo; Tommaso Lanzetta, Pierangelo Troiano, Leonardo di Monte,
Marco Tirone, Gennaro De Filippis, Giuseppe Cairone - musicians and musicologists; Franco Accinni, Rosa
Cirigliano, Lucia Carella - singers and researchers of songs of the local tradition; Francesco Graziano Accinni - musician. musicologist and senior researcher.
Coopération:
The association is part of the Committee for the Promotion of Intangible Heritage ICHNet.

Date de création: 2006
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Italie

Objectifs:
As per art. 2 of its statute, the "Totarella" is a non profit, democratic and apolitical and non partisan association that has been promoting, developing and disseminating the local traditional ethnic musical culture. It has in addition been active in the valorization of the traditional Iiutery for the construction of zampogne a chiave,and other local traditional musical instruments like surduline, ciaramelle, tamburelli, cupa-cupa, fischiett di canna etc. This activity is carried out in the respect of the ancient craftship but with an opening towards the young generations through old and new forms of artistical expressions and through initiatives and collaboration and exchanges with local bodies, cultural institutions, universities,
associations, etc.

The association promotes, organizes and eventually manages courses on traditional instrument and vocal music, traditional dance, seminars, stages and what more to disseminate the knowledge and the practice of the local musical tradition among young and elder people.

Moreover the association implements local historical research, safeguarding of the ethnic inheritage, re-discovery of instrument players and singers from the past through the publication of their original repertoires and documentation and a systematic data collection regarding the past and contemporary musical tradition.

The association together with its members promotes and carries out activities in order to promote and disseminate the knowledge of the traditional musical culture.

As per art. 4 of the Statute membership to the association is free and open to everyone aged over 18 years. Members are divided into ordinary, sustaining and honorary members. Planning and management of programmes and activities are implemented by the members as participation is considered a fundamental element in order to guarantee democracy and good functioning of the association.

All ordinary members have the right to express their vote. The General Assembly of members is the main decision organ. The structure includes the Management Board, the President, the Vice President and the Secretary/Cashier who remain in charge for 5 years.
Activités:
The Association was created with the aim of reviving the still deeply-rooted tradition of making and playing the zampogna a chiave and the other local traditional instruments within the community all along the year and with particular regard to the religious feasts. However, slowly the old bearers of tradition are disappearing and for such reason the members of the association together with community felt strongly the need to preserve this heritage and to transfer it to the new generations.

In this direction, various initiatives have been implemented in time among which:
- Systematic study and identification, collection and registration of traditional repertoires, techniques and documentation focused on the expression of the folk culture of the Pollino area. It consists of various sonatas (pastorals, tarantellas), where the most archaic sonorities of Southern Italian canto and sounds can be heard - such as the zampogna, surdulina and Sckantill cantos, the cupa-cupa, and all the ones still practices today in many religious festival in Southern Italy, in which residues of pagan elements
and Christian motifs are blended
- Creation of a laboratory for building the zampogna and other instruments and creation of courses for young people interested in learning the technique;
- Seminars and training courses for playing the zampogna and other instruments;
- Training sessions for teaching the local "tarantella pastorale" which is danced both at lay feast and religious occasions as a form of religious offering;
- Participation to several meetings, festivals and other events related to the traditional musical culture with particular attention to the local tradition and cultural inheritage in Italy and abroad;
- Educational, awareness-raising and information activities targeted to the schools and young people, including specific courses such as a "tarantella pastorale" workshop held at the Accademia della Danza of Rome, with a section for the dancers of the Accademia;
- Organization of cultural exchange programme with the Italian community whose origins are connected with the Pollino area resident in Argentina;
- Publishing a set of CDs on traditional old and modern music;
- Organization of cultural and musical events in cooperation with the local communities of the Pollino area and other public institutions;
- Participation to the creation of the ICHNet (Intangible Cultural Heritage Network).

Members of the association have competence and expertise with regard to the intangible cultural heritage as they are mainly traditional zampogna makers and players, other traditional instruments makers and players, dancers, ethnomusicologists, anthropologists, musicians and scholars, besides being all members of the various communities present in the Pollino area, including Arbresh representatives.

Additional information:

The Association was created with the aim of reviving the still deeply-rooted tradition of making and playing the zampogna a chiave and the other local traditional instruments within the community all along the year and with particular regard to the religious feasts. However, slowly the old bearers of tradition are disappearing and for such reason the members of the association together with community felt strongly the need to preserve this heritage and to transfer it to the new generations.
In this direction, various initiatives have been implemented in time among which:
- Systematic study and identification, collection and registration of traditional repertoires, techniques and documentation focused on the expression of the folk culture of the Pollino area. It consists of various sonatas (pastorals, tarantellas), where the most archaic sonorities of Southern Italian canto and sounds can be heard – such as the zampogna, surdulina and Sckantill cantos, the cupa-cupa, and all the ones still practices today in many religious festival in Southern Italy, in which residues of pagan elements and Christian motifs are blended
- Creation of a laboratory for building the zampogna and other instruments and creation of courses for young people interested in learning the technique;
- Seminars and training courses for playing the zampogna and other instruments;
- Training sessions for teaching the local “tarantella pastorale” which is danced both at lay feast and religious occasions as a form of religious offering;
- Participation to several meetings, festivals and other events related to the traditional musical culture with particular attention to the local tradition and cultural inheritage in Italy and abroad;
- Educational, awareness-raising and information activities targeted to the schools and young people, including specific courses such as a “tarantella pastorale” workshop held at the Accademia della Danza of Rome, with a section for the dancers of the Accademia;
- Organization of cultural exchange programme with the Italian community whose origins are connected with the Pollino area resident in Argentina;
- Publishing a set of CDs on traditional old and modern music;
- Organization of cultural and musical events in cooperation with the local communities of the Pollino area and other public institutions;
- Participation to the creation of the ICHNet (Intangible Cultural Heritage Network).
The President of the Association Giuseppe Salamone is member of a family considered since more than 100 years one of the principal families trasmitting the tradition of the zampogna including construction, playing and dissemination of the instrument and its music ( for further detailed information please refer to the ethnomusical studies done on the famiglia Salamone in the Pollino area).
Similarly the other members of the association come from families that for long time have been barriers of tradition with regard to zampogna and totarella, singing on the zampogna, dance and percussion, and other traditional musical instruments.
All members of the association have competence and expertise with regard to the intangible cultural heritage as they are mainly traditional zampogna makers and players, other traditional instruments makers and players, dancers, ethnomusicologists, anthropologists, musicians and scholars, besides being all members of the various communities present in the Pollino area, including Arbresh representatives.
All members participate actively since ever to all religious and cultural events of the community, as they are part of it and also are important members of the communities of the Pollino area, as documented by the innumerable studies done by all anthropologists studying the Pollino area and the local cultural tradition.
At all religious and non feasts, the members of the association are active participants of all cultural events implemented, as they are the main bearers of the local cultural intangible heritage, inherited by their ancestors and continued by them and handed over to the young generations.
It is practically impossible to present a specific timeframe, as the activities are implemented daily, since the last generations of these families, and have always included transmission and safeguarding of the tradition and cultural heritage from one generation to the other.
In this area as in many other parts of Italy, playing the zampogna, dancing, singing, is part of every day, it is done when returning home after working in the fields, or else, as a means of being together and sharing among the members of the community its cultural tradition and also a way to reconfirm the community among its members.
Since the last ten years and more, all members of the association have contributed in trasmitting to innumerable young people their knowledge both regarding the construction of zampogne, totarelle and other traditional local musical instruments and music and ways of playing these instruments, besides dancing and singing, contributing hence in safeguarding and transmitting the cultural intangible heritage of the communities of the Pollino area.
The management board includes: Giuseppe Salamone ( bearer of tradition), Giuseppe Altieri (bearer of tradition), Antonio Arvia (zampogna player and teacher), Paolo Napoli (various local traditional player and ethnomusicologist), Mauro Semeraro (player), Domenico Miraglia (bearer of tradition), Saverio Marino (player and singer).
Coopération:
The Totarella association is formed by members that are all part of the local communities of the Pollino area, including representatives from the Arbresh communities.

The entire philosophy underlaying the work implemented by the association aims at pooling together the traditional knowledge and pratice of the communities of the area through their direct involvement and participation.

Particular attention is given to all the feasts of the local communities and to the participation of the members of the association with special regard to the religious feasts which are an important aggregation and identification moment for all the people living in the Pollino area.

Programmes and participation to all events of the area are established in sinergy with the local communities who strongly take part in all rituals marking the various parts of the year and try to maintain their local tradition and languages, sharing repertoires, dances, food, stories, use of herbs, etc.

Date de création: 2000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Italie

Objectifs:
The main objective of Musa Association is promoting and safeguarding the traditional material and spiritual culture of the "Four Provinces", the appenninic northwest area divided for administration purposes into four provinces and four regions: Alessandria (Piemonte), Genova (Liguria), Pavia (Lombardia), Piacenza (Emiia Romagna). In this area traditional music is still performed and orally transmitted and still represents a reference-point for the cultural horizons of population. Musa Association is also engaged in the diffusion of the knowledge of local tradition outside the area in order to create the opportunities of dialogue with different but similar traditional languages. Another objective of Musa Association is the safeguard and promotion of the typical agricultural production of "Four Provinces", including the well-known "Montebore" cheese, protected by the international Slow Food organization, and the "Quarantina" potatoes, typical product of Genua inland. At this aim, Musa is cooperating with farmers engaged in traditional production as well as with local, national and international organizations operating in the field of traditional and natural food preservation. Musa Association is also supporting the international organization "Emergency" aiming to a larger social commitment.
Activités:
From its foundation, Musa Association is engaged in the organization of traditional players and singers performances either on the occasion of regional festive and ritual events during the cycles of the year, or in the frame of folk festivals which take place in the "Four Provinces" area. Musa also cooperates with villages communities in the organization of events centered on traditional themes, both in material and spiritual culture, and promotes material and spiritual traditional culture by means of any kind of medias (newspapers, magazines, websites etc.), as well as carrying on activities addressed to local and national institutions in order to attract the attention towards cultural heritages of "Four Provinces".
Musa Association organizes research groups mainly composed by peoples living inside the Four Provinces area, in order to enhance the awareness of their own cultural heritage. An important field of Musa research is the collection and study of documentations of music-making activities both in past time and in the present, as well as any other traces of material and spiritual traditional culture of Four Provinces (old pictures, letters, recording, working and musical instruments etc.) The researches are aimed to the publication of Cd's and books centered on traditional culture.
All members of the Musa Association are born in Four Provinces or have very deep relationship with this region, so they have a deep aknowledgement of the characteristics of the area. They grew up among the living tradition absorbing directly from their ancestors dialects, music and songs, and conceptions of life of ancient mountaineers. On the other hand some of them are also engaged as journalists and researchers in the field of traditional music or in some very closed sectors.
From the very beginnig of its activity, the Musa Association has organized many events centered on traditional music of Four Provinces, among which we wish to lay stress on the big pipe players and poliphonic singers meeting called "Curmà di pinfri", celebrating the end of summer season as the most intense working period for players. This very important event attracts every years traditional players from many parts of Europe.
During its eight years of activities, the Musa Association has also published 1 CD of field recorded traditional songs (Vieni oi bella - Traditional songs of Borbera valley, 2003), 2 ethnographic books (Cosola - Environment, work, tradition in an Appenninic community of high Borbera Valley, 2005 ; Chi nasce mulo bisogna che tira calci - A journey through the traditional culture of Four Provinces), 1 Cd-book (Noi cantiamo con il verso bello - Liturgy, rite and religious traditions in Cosola, Borbera Valley)
Most recently, Musa Association has organized one show of traditional songs and musics of Four Provinces centered on the important theme of emigration from the Appenninic mountains to the America. The show was performed by traditional musicians playing piffero (a traditional pipe belonging to the family of hautboys) and accordion (the instrument that at beginning of ninteenth century took the place of the ancient local bagpipe).



Coopération:
As we said before, Musa Association's members are deeply rooted on the local reality, consequently they carry on their activities in a constant dialogue with peoples living in the area. The village community is the first collective subject with which the Musa Association get in touch every time it undertakes a new activity. All the events promoted by Musa Association resulte from the dialogue with all the organizations and the individualities someways engaged in traditional practices. For example, the publication of books and Cd is the result of a field-research in which many peoples of different ages were involved playing the role of witness of the past and holders of traditional knowledges. During the performances dedicated to the emigration towards America, many people which experienced emigration, as well as sons and relatives of emigrants, took part actively at the show speaking about their own experience. Of course, a particular attention is dedicated to the traditional musicians; some of them indeed are directly involved in the activitiy of Musa Association. In the organization of traditional musical performances Musa Association emphasizes the artistic abilities of all the musicians respecting the various performing characteristics of each one, with particular attention to young people at the beginning of their career.

Date de création: 1965
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- other
- Traditional puppet theatre

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Organization of events such as Festival di Morgana (Morgana's Festival)

Pays principaux d'activité:

Italie

Objectifs:
After the crisis of Sicilian traditional puppetry, the Association was established and in 1975 it founded, and still manages, the ethno-anthropological Museo internazionale delle marionette Antonio Pasqualino (Antonio Pasqualino International Puppet Museum), which houses ab. 4.000 items used in traditional puppetry from different countries. It aims to safeguard and revitalize puppet traditions and the related craftsmanship, as well as local practices and productions in their different territorial, artistic and traditional expressions so as to save and expand the rich immaterial heritage connected to Sicilian folk traditions and to encourage the research focusing on their relation with their original context. It keeps a comparative attitude by relating Sicilian puppetry to other countries’ traditions.
This activity takes place by means of collecting; research; promotion; networking and cooperation; educational, didactic and theatrical activities, eg. Festival di Morgana (that promotes the cultural/professional exchange between Sicilian and foreign puppeteers), as follows:
-the socio-anthropological researches about traditional puppetry and practices;
-the organization and management of centres for multi-disciplinary documentary research; the foundation of libraries, film archives, and multimedia application centres focusing on identification, documentation and research (including inventorying)
-the realization of innovation projects by means of grants, research contracts and conventions;
-the organization of cultural events in the fields of literature, theatre and art involving local and foreign institutions
-the participation in national/international events to preserve, continue and expand Sicilian traditional practices in Italy and abroad;
-the publishing activity, to popularize the subjects connected to traditional puppetry and practices;
-the creation of networks including other institutions operating with the same aim and in the same field all over the world
-the promotion and realization of programs for the collaboration with public/private institutions, national and international, aiming to operate in the research field and promote the exchange of professionals with other Italian and foreign certified institutes;
-the counselling service to help the Regional government adopt the right strategies for the preservation/promotion of traditional practices, expand its collection about material/immaterial culture; the conservation and permanent exhibition of some of its ethno-anthropological collections;
-the organization of educational/didactic projects and activities in cooperation with private/public institutions concerning the Museum’s patrimony, local and foreign traditions.
Activités:
The Association’s managing board and its scientific committee are composed of high-brows mainly operating in the field of folk traditions, in collaboration with the anthropological faculty of Palermo’s University. Since the beginning they have undertaken important researches about local traditions and material culture collecting important testimony and recording, among others, religious festivals, puppet shows, interviews to puppeteers and traditional spectators. These researches led to the Congress “Museografia e folklore” (Museography and folklore), held in Palermo in 1967 and organized by the Association: it was to be the first step for the creation of a new demology and museography centred on a scientific approach in the study of folk traditions. Moreover, the Association prepared the nomination and supported the Opera dei Pupi to obtain the 2001 UNESCO’s declaration as a “Masterpiece of the oral and intangible heritage of Humanity”. Also, to safeguard the Opera dei pupi, the Association started to collect lots of items used to put on traditional shows creating the first core of the collection, which was to be exhibited at the Museo internazionale delle marionette (International Puppet Museum), founded in 1975: its collections include ab. 4,000 items concerning traditional puppetry, both Italian and foreign as well as contemporary puppet art.
Among the numerous activities of the Association:
• the organization of the annual Festival di Morgana, a review of traditional theatrical practices organized in collaboration international festivals and institutions. It gives the opportunity to increase the Museum’s collections, promotes the trans-national mobility of cultural operators and the trans-national circulation of artistic and cultural works. It encourages the intercultural dialogue by adopting an interdisciplinary approach and proposing programmes, which have always promoted an exchange between folk and cultivated theatre, art and music in relation to the field of performing arts, heritage and culture. In its latest five editions, it involved more than 500 artists (www.festivaldimorgana.it)
• the creation of a stable Opera dei pupi company involving the main traditional puppeteers from all over Sicily. This stable collaboration has allowed the organization of ab. 250 traditional Opera dei pupi shows in the last 2 years, and proved to be impressively effective for the promotion and revival of this local tradition
• the management of the Museum’s library “Giuseppe Leggio” which includes ab. 7,000 volumes on anthropology and folk traditions, the Opera dei pupi and puppetry
• the cataloguing of the Association library’s patrimony through SBN Unix C/S application of the Istituto Centrale per il Catalogo Unico (Central Institute for a Unique Catalogue); the cooperation for the creation of a Libr@rsi website: these activities aim to provide a free, wider and easier fruition of the uploaded on-line catalogue of the Association’s library
• the copying, digitalizing and inventorying of the Association’s audio-visual patrimony (including ab. 1,578 items), with particular reference to the bobbins dating back to the Sixties concerning the Opera dei pupi shows and interviews made by Antonio Pasqualino and Marianne Vibaek.
• the revision of the Museum’s photo archive which includes white and black photos of the Museum’s collections and the performances
• the restoring of the Museum’s oldest puppets and its recent promotion through the project “Adotta un pupo” (“Adopt a puppet” – www.adottaunpupo.it) which involves donors who can choose the puppet to restore and be informed about its state
• the restoring of the oldest advertising posters and backcloths of the Opera dei pupi
• the organization of seminars in collaboration with prestigious national/international institutions: eg. “Art and Anthropology”, (in Palermo), in collaboration with Paris “Musée du Quay Branly”; seminars centred on epic stories in the oral and written traditions such as those organized on the occasion of Morgana’s Festival (Palermo and other Sicilian towns) or “Storytelling”, a festival (in various Sicilian towns), in collaboration with the Sicilian Museum Casa museo Antonino Uccello, which was centred on the oral transmission of knowledge and the various expressive codes of traditional storytellers; the “Convivio musicale. Incontri con l’arte e la musica tradizionale” (The Musical Feast. Meetings with art and traditional music), held in various Sicilian towns and in collaboration with CIDIM (Italian National Committee for Music), which included performances of local story-singers concerning some famous stories of the poetico-musical repertoire. Performed according to the traditional executive techniques and staging codes; cunti, which are serialized stories publicly related by wandering storytellers and concerning chivalric epics stemmed from the ancient French Chansons de geste; concerts of folk songs; seminars about the Opera dei pupi and Unesco masterpieces of the oral and intangible heritage of humanity held in Palermo.
Coopération:
Since its foundation, the Association has cooperated with local puppeteers and craftsmen to help them survive the deep crisis, which since 1950s threatened the existence of this local tradition. This stable collaboration aims to increase their activity and expectations within a constant exchange and dialogue, which are at the basis of the important research activity carried on by the founding members of the Association. Moreover, their continuous presence at the Museum proved to be precious for the revision of the Museum’s inventories, which include important details about the items of its collections (origin, creator, character, etc.). The result of such relation and researches led to obtain the UNESCO’s declaration of the Opera dei pupi as a “Masterpiece of the Oral and Intangible Heritage of Humanity”. In addition, in order to revive, promote and popularize it, since the opening of the Museum, the Association organized an annual review of the Opera dei pupi and during the year it still schedules Sicilian puppet shows by inviting companies from all over Sicily and involving them in other didactic activities. Not only does the Association mediates in the relationship between puppeteers and national and international spectators and institutions, but it also creates contacts and cooperation with craftsmen, puppeteers and artists from other countries promoting the cultural and professional exchange between Sicilian traditional artists and foreigners operating in the same field. In fact, during the annual Festival di Morgana, the Association often invites companies from abroad, which perform or hold workshops in Palermo, and it has also promoted the production of innovative performances mixing traditional practices (ex. Chinese Opera and Sicilian Opera dei pupi), or various forms of art (contemporary dance, paintings and music): the result was the creation of artistic works which plays with the Opera dei pupi traditional codes which gave Sicilian artists the possibility to become more aware about their activity and to expand the range of their experience in the puppet field. Finally, this exchange has helped the development of a more general comparative study of traditional theatrical practices.

Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Italie

Objectifs:
The "Associazione Sant'Antuono & le Battuglie Pastellessa" carries out activities for the promotion and safeguarding of the intangible culture and tradition of the "Battuglia di Pastellessa" or "Carro di Sant'Antuono" of Macerata Campania (Caserta, Italy), which is unique for many aspects and has a long tradition.
The "Battuglia di Pastellessa" are ornamental wagons that are prepared to celebrate the religious feast of Saint Anthony, the Abbot, in January following a tradition that started 700 years ago in Macerata Campania. "Pastellessa" is the name of the special sound executed by the "Battuglia di Pastellessa", where "battuglia" stands for group and its members are called "bottari", or barrelbeaters, from the unusual rural instruments utilized consisting in barrels, vats and sickles.
The "Associazione Sant'Antuono & le Battuglie Pastellessa" is apolitical, non-partisan and a nonprofit
organization with the following aims:
- to organize the religious and civic celebration of Saint Anthony, the Abbot, in Macerata Campania (Caserta, Italy);
- to valorize and promote among the general public the arts of the ancient rural tradition of the "Battuglia di Pastellessa";
- to make concrete the values of solidarity and participation, through actions and initiatives aimed at solving social problems of all seqments of the population, with particular attention to those mostly affected by injustices and imbalances deriving from the present prevailing development model;
- to defend and promote the territory in all its aspects - ecological, urban, artistic, social and religious - and all its potential strength - in terms of tourism, sport, production and leisure management, against all forms of exploitation and deterioration;
- to translate the popular culture of the "Battuglia di Pastellessa" into research, studies, and events
of all kinds.
Membership to the Association is free, without any kind of discrimination with regard to race, citizenship, sex or religious belief. Other Associations, Committees, Institutions and Foundations, sharinq the same purposes of the Association, can apply for membership to the Association.
Activités:
Intangible Cultural Heritage: The "Associazione Sant'Antuono & le Battuglie Pastellessa" is actively engaged in the organization of the ancient Feast of Saint Anthony, the Abbot, in Macerata Campania, promoting and safeguarding the intangible cultural heritage of the "Battuglia di Pastellessa" of Macerata Campania. During such event the Association coordinates about 1.000 "bottari".

Event: "Festa di Sant'Antuono" (Feast of Saint Anthony, the Abbot), Macerata Campania, January.

On January 17 the old-town of Macerata Campania hosts every year the Feast of Saint Anthony, the Abbot. During the previous days concerts, tastings and religious liturgies warm up the atmosphere. The feast consists in: firing the "Cippo di Sant'Antuono" (Saint Anthony's piece of wood), parade of the ornamental wagons of the "Battuglia di Pastellessa", fireworks and a raffle. The band exhibition of the "bottari" is in the morning when they are carried on 16 meter-long wagons, with their instruments consisting of vats, barrels and sickles, realized by local artisans, around the town. "Pastellessa" is the name of the special sound made by the unusual rural percussion instruments, but it is also the name of a local recipe, typical dish of the feast: pasta with dried chestnuts. After the Mass fireworks are exploded as symbol of the purification and the struggle against the evil spirit. Figurative fireworks representing a woman, a pig, a donkey, enrich the symbolism and represent the protective force from the snares of the world. Traditional games as tug of war, the sack race and the raffle, when all donations collected during the procession are auctioned, mark the closure of the festivities. The event is organized by the Association with the sponsorship of the Municipality of Macerata Campania, the Province of Caserta, with the
Campania Region, and the participation of the "Comitato per la promozione del patrimonio immateriale".

Dissemination

Project Sant'Antuono Web 2.0:
With the aim of disseminating knowledge about the intangible heritage, the Association has created a net of Internet Web (Official website, YouTube channel, Facebook group, etc...) that allows to communicate and interact with the people from all over the world. The Association's Web community puts together more than 1.000 subscribers.

Event - Official Presentation of the "Associazione Sant'Antuono & le Battuglie Pastellessa" and the Feast of Saint Anthony, the Abbot, 2009 edition, Macerata Campania, October 26, 2008. The event was organized by the Association with the sponsorship of the Municipality of Macerata Campania.

Event - Official Presentation of the Feast of Saint Anthony, the Abbot, 2010 edition, Macerata Campania, October 25, 2009.The event was organized by Association with the sponsorship of the Municipality of Macerata Campania.

Event - "Pastellessa Folk Festival", Macerata Campania, September 25,2010 - Festival of musical culture to put together and analyze the intangible cultural heritage of the "Pastellessa" of Macerata Campania and ''8allo e Canto sui Tamburo" (Dance & Song on the Drum) of the Italian Region Campania. The event was co-organized by the Association and the "Associazione Radici" with the sponsorship of the Municipality of Macerata Campania, the "Ente Provinciale per il Turismo di Caserta" , by the Province of Caserta and the "Comitato per la promozione del patrimonio immateriale (ICHNet)".

Round Table - "11 Carnevale dei popoli - 11 ruolo delle comunita nella salvaguardia e nella valorizzazione sostenibile del Carnevale" (The Carnival of the Peoples Role of the Community in Safeguarding and Sustainable Valorisation of the Carnival), Montemarano, March 12, 2011 -

A one day workshop to analyze the intangible cultural heritage of the Carnival in Campania and other Italian Regions, with the participation of the "Associazione Sant'Antuono & le Battuglie Pastellessa" in order to illustrate the ancient rural tradition of the "Battuglia di Pastellessa" of Macerata Campania. The event was co-organized by the "Comitato Carnevale di Montemarano" and the "Comitato per la promozione del patrimonio immateriale (ICHNet)" with the sponsorship of the "Istituto Centrale per la Demoetnoantropologia" of the Italian Ministry of Culture.

Education

Cooperation agreements established with Primary and Secondary schools of Macerata Campania for the Project "Scuole Aperte" promoted by the Campania Region.

Establishment of the Study Centre "Historia Loci" in order to fulfil safeguarding activities for the intangible cultural heritage of Macerata Campania through research, studies, and events.

"La festa di Sant'Antuono, patrimonio culturale immateriale di Macerata Campania" (Feast of Saint Anthony, the Abbot, intangible cultural heritage of Macerata Campania) - A research study on the Feast of Saint Anthony, the Abbot, in Macerata Campania.
Coopération:
The "Associazione Sant'Antuono & le Battuglie Pastellessa" is tightly connected to and cooperates with the local community through a continuous relationship with young and elder people to maintain and transmit the tradition. Young people are invited to join in the practice of playing the various typical musical instruments used while elder people participate in the transmission of techniques and patterns of playing and singing.

The about 1.000 "bottari" split into twenty local groups, in order to create, maintain and transmit the intangible cultural heritage of the area.

In order to fulfil the safeguarding activities for the intangible cultural heritage of Macerata Campania, the Association collaborates with other Associations, Committees, Institutions and Foundations, of the territory such as the "Associazione Radici" of Marcianise, the "Comitato Carnevale di Montemarano" of Montemarano, the Province of Caserta, the Municipality of Macerata Campania. In order to strenghthen the knowledge of its local tradition and specific percussion techniques, it also collaborates with organizations from other parts of Italy including the "Comitato per la promozione del patrimonio immateriale (ICHNet - Intangible Cultural Heritage Network)" and the "Istituto Centrale per la Demoetnoantropologia" of the Italian Ministry of Culture.

Date de création: 2010
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Azerbaïdjan

Objectifs:
The purpose of the Azerbaijani Carpetmakers' Union is the safeguarding of the Azerbaijani national carpetmaking and handicrafts, their development and popularization in the world.
The Union helps to learn and form the public opinion about carpet-making art, legal rug products, and it also helps the stimulating of the raising of the creative work mastery of the physical persons, popularization of quality and special signs of our national culture and handicrafts to determine various examples of carpets and also helps theirs popularization and demonstation in Azerbaijan and the world. The NGO collaborates with local and international organizations of carpet-making art, including museums and also with legal and physical persons, as well as the state agencies.
The Unity organizes different trainings and workshops, round tables and meetings, exhibitions, charitable fundraising, conferences, other cultural and other mass measures; dissiminates information about purposes and activities, publishes print materials.
Activités:
In 2009-2010, the Azerbaijani Carpetmakers' Union participated in developing the nomination file of Azerbaijani carpetweaving for the UNESCO Representative List of Intangible Cultural Heritage of Humanity.
For preservation of a variety of the Azerbaijan carpet, weaver's communities together with the Association «The World of carpet» and Azerbaijani Carpetmakers' Union collect information about local features of carpets, popularisation of products of local weavers through exhibitions-sales, organising trainings. So, in August 2009, in Baku, the Azerbaijani Carpetmakers' Union uniting all carpet communities of the country and the Association «World of Carpet» organised the round table which was devoted to problems of activization of manufacture of pileless carpets in Azerbaijan. The Carpetmakers' Union organises regular trainings in technique of pileless carpets at the the Museum of the Azerbaijan carpet.
Communities of carpet weavers demonstrate the works at various exhibitions. So, in 2009 the national competition-festival of carpets in various zones of the country was organised. In 2009, works of national weavers were shown in one of the Days of the Azerbaijan culture in Basel.
Besides, the following national laws were adopted: in 1998 the Law on import-export of cultural objects, in 2003 - the Law about folklore, in 2007 - ratification of the Convention of UNESCO on Protection of intangible Cultural heritage.
In 1983, 1988, and 2003, three international symposiums of the Azerbaijan carpet were organised in Azerbaijan. The first two ones were passed under the aegis of UNESCO. In 2007 4th symposium devoted to the 100 anniversary of Ljatif Kerimov took place in UNESCO headquarters in Paris where the exhibition of artists works also was organised.
Among large publications of carpet protection for last decade: Roya Tagieva «The Azerbaijan carpet» 1999, presentation of which has taken place in 2000 in Louvre Museum, Azadi-Kerimov-Tsollinger «The Azerbaijan Caucasian carpets» 2001, and the two-volume book «The Azerbaijan carpet» 2006, devoted to L.Kerimov and Materials of 4th symposium about the Azerbaijan carpet.
Many last projects have been connected with efforts on revival of carpet art. Among of them:
• CD issues: 2004 - «The Virtual Museum of the Azerbaijan carpet and applied art» (UNESCO grant),
2005 - «Technologies of the Azerbaijan carpet»,
2006 - «The Azerbaijan carpets» (with financial assistance of the Moscow bureau of UNESCO);
• in 2008 was spent the exhibition of carpets «Azerbaijan – the country of fires and carpets» from a collection of the Kiev art museum of Boqdan and Barbarians Hanenko and the catalogue of the publication «The Azerbaijan carpet»;
• In 2009 Republican festival and an exhibition of modern carpets from various regions of the country;
• In July 2009 in Baku – exhibition «Dream of the master: a new life of ancient patterns» in which works of modern weavers have been exposed.
In 14th of September, 2009 has been spent the round table and a master class "Not varying values of varying time" with the assistance of carpet – wavers, artists on carpets, collectors and businessmen, and also fans of carpet art. It has been shown a collection of clothes with use of carpet patterns of young designer Minary Kulieva, works of the master on embroidery art with use of a carpet thread of Shahla Askerova, etc.
On 17th of November, 2009, on the day of birth of the great artist on carpets, masters, scientific Ljatif Kerimov has been opened the exhibition of professionals and masters is national-applied art "The art Bridge, the leader from the past in the future".
On 18th of May, 2010 has opened the exhibition of tapestries "Tapestries: yesterday and today", where have exposed the works of masters of Non-governmental organisation.
On 10th of May, 2010 has been opened the exhibition of the Union's member Mr.Eldar Mikailzade “Dedication to geniuses".
In February, 2011 has been opened the exhibition of felt products, a member of NGO Rauf Abdulgasanogly devoted to Hodzhali tragedy.
In March, 2011 has been opened the exhibition of masters on national-applied art was devoted to a holiday of Novruz.
Since 2010 the Carpetmakers' Union has started to carry on negotiations with similar international communities in Uzbekistan, Turkmenistan, in Russian Federations and in Islamic Republic of Iran. Result of negotiations was the opening of an exhibition of masters of people-applied art of Uzbekistan which has been opened together with "Fund-Forum of culture and art of Uzbekistan", Associations of Antiquaries of Uzbekistan "Meros" which will proceed in the autumn opening of an exhibition of the Azerbaijan masters in Tashkent, also opening of an exhibition of carpets on the basis of pictures of the National artist of Azerbaijan and Russia Tahir Salahov. Last exhibition has been shown for the first time in 2010 in Moscow, in the Museum Center of History of Musical Art named after M.Glinka, and also in 2011 which was organized by UNESCO in Paris.
Coopération:
The Carpetmakers' Union plays the main role of creating intangible cultural variety of the local communities, groups and various persons. In this way the Union supports to enrich cultural variety, protect non-material cultural heritage especially among young generation. It carries out monitorings for the learning cause and effect in the material and technical direction, prepare the activity program in the direction of restoration of the technologies defining on the basis of getting results of the sensible and forgotten kinds of the carpet-making art.
In 2010 in Guba, Khachmaz, Gusar, Shabran, Siyazan the Union carried out the survey about modern situation of the carpet-making art, in 2011 in the result of analysis of the surveys compile the plan of monitoring and in Guba unity have been organized the exhibition from the works of the carpet-makers and masters of applied art.
In 2010 there were surveys about carpet-making art in the west zone of Azerbaijan.
The same problem is connect with various kinds of art embroideries. It is about the propaganda the ancient kinds and names of embroideries art among the young generation. Once in a month the Union organize the meetings with craftsmans in the various handicrafts of people-applied art and investigate their problems. Carrying out the work among different adults (9-17, 18-28) the Union learns their interests to various kinds of applied art and organize different groups.

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Suède

Objectifs:
It was established to highlight the oral intangible cultural heritage from the region and to revitalize by stimulating oral storytelling, shedding knowledge of fairy tales, legends and folktales and to safeguard the narrative traditions of the Land of Legends (which is three municipalities in this region of Sweden).
Activités:
Activities for safeguarding: The storytelling network of Kronoberg runs; The Museum of Legends, The Land of Legends, The largest yearly storytelling festival in Scandinavia, Ljungby storytelling festival. These three parts have all the same goal, to highlight and safeguard our oral traditions, this is being done by:
Storytelling performances/guided tours; in the museum but also in the landscape of The Land of Legends and at the festival.
Educational activities: At the museum but also in schools. We are using the tales and the storytelling as a pedagogical method (following the Swedish curriculums) and working/teaching at all school levels, from kindergarten to university. We are holding courses for youths and adults who want to learn, and also have two university courses at the museum together with the Gotland University.
Festival: Since 1990, every year we have had a storytelling festival, which is local, national and international. At the festival we host a Nordic youth camp for the next generation of storytellers. We are trying to highlight different kind of storytelling traditions, 2013 we highlight the romany tradition.
The Land of Legends: We have marked 80 places in the landscape which has a particular story/tale connected to it. This has been done by; road signs, maps, story cabinets at the actual place (the cabinets consist of a story that the visitor can read in Swedish, English or German, a painting which is connected to the story), an app (you can listen to the story in your phone instead of reading if you like) geocaching, performances, activities and excursions. Every summer we do a summer program in The Land of Legends, with performances open for the public. Many of the legends we tell in the The Land of Legends är concted to knowledge and pratices concering nature and the universe.
Performing arts: Storytelling is a performing art, we do plenty storytelling from stages, at theathers and festivals.
Book publishing: Several books have been published with the old tales but also with the new stories that we have collected today.
Networking: As The Storytelling Network of Kronoberg is the first of its kind in Sweden, we have become a centre for storytellers in Sweden and help others to form networks/or connect with storytellers in Sweden and abroad.
Projects: We work with different kinds of projects: During 2012, 2013 we have/are working with projects such as: “Museum education for those with special needs” (for students with learning disabilities of different kinds) “Stories for memories” (working with elderly at care homes with or without dementia) “Meetings with stories” (working with “young” dementia patients and their relatives) “Land of Legend- an arena for stories and meetings” (an EU-project on how to develop the countryside and highlight the stories of it) “Storytreasure” (collecting stories of today from groups and individuals) “The Basket” ( a project that combines the making of baskets and the stories of this old traditional handicraft)

Implementing the Convention in Sweden: The network is active in the work that is now taking place in Sweden of implementing the Convention with the Institute for Language and Folklore. Which has resulted in the Regional Council’s consideration to give us a regional assignment regarding the safeguarding of oral traditions.
Coopération:
Examples of groups we are working together with:
Individuals – at our website everyone can download their own stories (done by calling a number and telling your story) At the festival we always have some telling of life narratives.
Minority groups – we have highlighted storytelling traditions belonging to groups that unfortunately have been overlooked in history, for example Romany and Sami.

The Swedish local heritage movement – the largest heritage NGO in Sweden. Together we have done many projects, and helped them at several places to highlight their legends and stories connected to places where they operate.
NGO for traditional handicraft – connected to the making of handicraft are several stories and tales. We work together with the traditional handicraft association to bring forward these stories.
ABF - Sweden’s largest adult liberal education association, we do study circles together and they are a partner in the Ljungby storytelling festival
Museums – Mainly local and regional museums but some national in different projects. We co-operate around storytelling, doing performances at the museums.
Universities -Mainly with Gotland University and Linnaeus University, teaching and research.
Municipalities – Land of Legends, consists of three municipalities (Ljungby, Älmhult, Alvesta), they help us in our work of revitalizing the places in the landscape. (The municipalities give founding to our work yearly)
Authorities – for instants: County Administrative Board (have supported our work for a long time), the Institute for Language and Folklore (implementation of the Convention), Regional Council South Småland, (gives us a yearly founding).

Date de création: 1996
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Indigenous museums

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
As per the 2001 census, the population of indigenous (tribal) communities in India is 84.3 million in India, i.e. 8.2% of the total population. There is, besides, a six crore population comprising communities designated as ‘denotified and nomadic’ tribes. These communities speak a variety of languages. However, of the numerous languages in India only twenty-two languages are recognized by the 8th Schedule of the Indian Constitution. There are nearly ninety-six other languages having at least 10,000 speakers, and nearly 360 languages with less than 10,000 speakers, that are not officially recognized.
Most of the languages spoken by the indigenous communities are not included in the Indian Constitution. Since many of these languages do not have a script and follow an oral tradition, they do not have a documented or ‘written’ literary tradition and are not taught in educational institutions or employed for administrative work. Due to lack of patronage, these languages are under threat of extinction. With the gradual disappearance of their languages, oral culture, traditional knowledge systems and cultural practices, the very social fabric and cultural identity of indigenous communities is under threat. There is no single University, Research Institute or Museum in India that covers all the languages, literature and the arts of indigenous communities in the country. There are in some states Tribal Research and Training Institutes but their area of operation is confined to their respective state boundaries. Therefore, the studies conducted in these Institutes remain inadequate in their scope.
Bhasha Research and Publication Centre was established in 1996 with the aim to provide ‘voice’ to the indigenous communities of India. The activities of the organization are directed towards the following objectives:
1. To undertake documentation of linguistic, literary and artistic heritage of adivasi communities in India and to publish documented materials.
2. To collaborate with national academies of art and literature and research institutes engaged in the art of adivasi related imaginative activity for the purpose of undertaking or encouraging research in adivasi art and literature.
3. To establish a national level Adivasi Training Academy for the promotion of adivasi languages, literature, arts and culture with a view to initiating formal education in the area of conservation of adivasi imagination.
4. To undertake activities related to social and economic development of adivasi communities
5. To stimulate and create awareness among citizens for the preservation of adivasi languages, art and imaginative life of adivasi communities.
Activités:
Bhasha was established by a group of people engaged in the conservation of intangible cultural heritage. These included internationally recognized artist, the late Bupen Khakhar, eminent writer, social activist and Padma Vibhusshan recipient Mahesweta Devi and former Professor of English, renowned literary critic, activist and Linguapax Award recipient Dr. Ganesh Devy.
Many of Bhasha’s networks and 86% of Bhasha’s staff members are themselves from Indigenous communities and are themselves transmitters of intangible cultural heritage so they are incredibly qualified to act in the field. The Adivasi Academy is an educational institution which draws scholars India and abroad to exchange ideas and knowledge with indigenous communities.
Bhasha has established a publication house that documents and publishes books on indigenous languages, society and culture. In 1997, Bhasha launched the Dhol magazine for documentation of oral traditions in indigenous languages. Dhol eventually became a platform for expression of indigenous imagination and came to be published in ten major indigenous languages spoken in western India, none of which had ever been documented before: Rathwi, Dungri Bhili, Panchmahali Bhili, Chaudhari, Garasia, Bhantu, Kukna, Dehwali, Pawri and Ahirani. Due to the impact of the magazine, the number analysis of Census 2001 data on these languages reveals that during the past decade speakers of indigenous languages have increased significantly compared to their figure for 1991.
Indigenous language glossaries have been brought out in fourteen indigenous languages. The glossaries are designed as a teaching aid for non-indigenous teachers teaching in indigenous areas as well as for indigenous children who, due to the influence of formal education, are gradually being alienated from their culture and language. The glossaries are used by the government as educational materials in schools.
Bhasha has set up the Adivasi (Tribal) Academy at Tejgadh, a tribal village 90 kms east of Vadodara in Gujarat state, as a national level institute exclusively devoted to conservation of languages and cultural heritage of indigenous communities. The Adivasi Academy is engaged in rescuing the dignity and respecting the cultural heritage of indigenous communities through festivals, organizing cultural performances, theatre, songs, dances, rituals and documenting folklore. The Adivasi Academy has instituted academic courses such as a Post Graduate Diploma in Tribal Culture and Development, Post Graduate Diploma in Tribal Arts and Culture and Post Graduate Diploma in Himalayan Arts and Museology. Bhasha is recognized as a Special Autonomous Centre by Indira Gandhi National Open University.
The Adivasi Academy has established a museum of indigenous communities at Tejgadh. The museum is called ‘vachaa’, meaning voice or expression. Vachaa functions as a forum for expression of creativity and offers intellectual space to indigenous communities documenting and creating dynamical displays of their expressions, both artistic and cultural, in the form of objects, artefacts, performances and digitized multimedia images. The Museum is seen as the 'laboratory' for contemporary ethnic, anthropological and artistic studies carried out from the perspective of indigenous communities themselves.
On invitation of the Government of Himachal Pradesh, Bhasha has designed a Museum for Himalayan communities at Keylong. For the conservation and protection of Himalayan culture and ecology, Bhasha has set up a national institution by the name ‘Himlok’ in Himachal Pradesh.
Bhasha has created a National Consortium of Indigenous Arts and Culture by digitally linking 14 Regional Indigenous Museums in India. The Consortium is the only single and largest database of indigenous art in India comprising a repository of craft, folktales, short films, oral narratives, songs and stories.
During the past decade Bhasha organized over a hundred conferences, seminars and workshops on indigenous languages, literature and culture. In 2008, Bhasha initiated a series of international conferences named Chotro in collaboration with European Association for Commonwealth Literature and Language Studies (EACLALS). This conference is held annually, and as the term “chotro” implies, is intended to “bring together” writers, artists and scholars interested in the languages and literatures, the cultures and histories of the indigenous peoples of the post-colonial world. So far there have been three Chotros drawing participants from over twenty six countries.

Bhasha has instituted annual cultural festivals:
Bhasha holds the Kaleshwari Cultural Festival in Panchmahals every year that is attended by denotified and nomadic communities who showcase their drama, epics, dance, music and other cultural practices.
On 1st May Bhasha holds a national Conference of Tribal Writers at Dandi.
A Cultural Festival of indigenous communities is organized at Saputara in south Gujarat on 15th October.
Bhasha has now undertaken a Peoples Linguistic Survey of India, a nationwide survey on existing languages across India, which seeks to answer the question ‘How many living languages does India have?’ The PLSI will map languages around India with the help of the speech communities themselves and linguists. This work is being carried out through a series of workshops throughout the country which bring together scholars and cultural activists to complete surveys on eight hundred languages.
Bhasha has impacted the government’s policy in relation to the Denotified and Nomadic Communities. Similarly, the Government of India’s ‘Bharat Bhasha Vikas Yojna’, Ministry of Human Resource Development, was drafted by Bhasha. The scheme is intended for promotion of the non-scheduled and threatened languages.
Coopération:
The Bhasha centre has developed a close engagement with communities, groups and intangible cultural heritage practitioners in a number of contexts.
Bhasha has had a close engagement with Tribal language groups over time. A network of indigneous writers and thinkers has been established, who regularly contribute to Bhasha’s magazines and publications. There is a network of community teachers who also contribute to magazines, publications and study material in their indigenous mother tongues. Bhasha’s publication work has created a platform for authors from within indigenous communities to publish their works, and has brought to print many previously unrecorded languages and literatures.
The Peoples Linguistic Survey India has established a national level network of language speakers not included in the 8th schedule. Language speakers, linguists, language activists and scholars are all engaged in the project.
Bhasha initiated the establishment of a Tribal Artist Cooperative which provides an opportunity for artists to practice and promote their craft. The Adivasi Academy has and Artist’s Workshop located on site for artists to create and practice their craft. There are 120 members in the cooperative, it is a registered body and is managed by adivasi graduates from the Adivasi Academy. Tribal musicians have been engaged documenting their musical instruments and recording folksongs and instrumental music. Bhasha organizes performances of adivasis artists both at the Adivasi Academy as well as in other major cultural centers throughout the country. These performances contain dance, drama, puppetry, mask plays, recitations of epics and storytelling.
Vachaa, the museum established by Bhasha is a national level Resource Centre for the conservation and promotion of the culture and craft of marginalized communities in India. The staff and curators of the museum themselves belong to indigenous communities, the museum is seen as a forum for the tribal voice.

Date de création: 1904
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Allemagne

Date de création: 1998
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- revival and rehabilitation of wawa igbo intangible resources,TK,Tces and Folklore; poverty reduction between among the indigenious peoples; re-establishment and modern application of indigenious conflict resolution systems

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- legal advocacy legislative draftsmanship

Pays principaux d'activité:

Côte d'Ivoire, Ghana, Nigéria, Sénégal

Objectifs:
... Main objectives of the Organization:
1. Rediscovery and promotion of the intellectual and traditional knowledge of the Igbos
relating to its traditional medical knowledge and practices;
2. Protection of the masquerade and oracular prophetic practices of the Igbos, Wawa
people as they extend in Nigeria, Ghana, Cote d'lvoire and Senegal;
3. Defense and sustenance of the natural and customary practices of the indigenous
African people under the context of foreign religion and globalization which exterminate
the
population's social and economic existence;
4. Sensitization of the intellectual class in Africa on the issues that border on African
intellectual property and folklore;
5. Research and publications on African intellectual and folklore history and issues by
collating end reports of conferences and workshops.
6. Poverty reduction programs to ensure environmental and economic sustainability for
the Wawas in 19boland spread through the four West African states;
7. Designing relevant programs that will impact positively and contextualize the
millennium development goals in the lives and customs of the Wawas in 19boland,
especially those in tension soaked Niger delta of Nigeria.

1. Rediscovery and promotion of the intellectual and traditional knowledge of the Igbos relating to its traditional medical knowledge and practices;

2. Protection of the masquerade and oracular prophetic practices of the Igbos, Wawa people as they extend in Nigeria, Ghana, Côte d’Ivoire and Senegal;

3. Defense and sustenance of the natural and customary practices of the indigenous African people under the context of foreign religion and globalization which exterminate the population’s social and economic existence;

4. Sensitization of the intellectual class in Africa on the issues that border on African intellectual property and folklore;
5. Research and publications on African intellectual and folklore history and issues by collating end reports of conferences and workshops.

6. Poverty reduction programs to ensure environmental and economic sustainability for the Wawas in Igboland spread through the four West African states;

7. Designing relevant programs that will impact positively and contextualize the millennium development goals in the lives and customs of the Wawas in Igboland, especially those in tension soaked Niger delta of Nigeria.

Activités:
1. We have embarked upon documentation and profiling of the intellectual properties and folklore of the Wawa people of West Africa with a view to seeking legislative and copyright protection of these activities, previously undocumented;
2. Publication of well researched articles and books on Wawa indigenous people that will itemize the various cultural properties and rights of the people to sensitize the world and national governments on the areas which are threatened with distinction.
3. Organizing workshops and attending global fora of world indigenous peoples to present the perceived areas of injustice and marginalization which have threatened them with extinction and permanent dislocation in the geography of their present locations in West Africa.
4. Collaboration with all other individuals and organizations which promote and defend the intellectual property and folklore of indigenous people worldwide with a view to exchanging information and visits from other parts of the world;
5. Making representation to governments in the four West African countries to recognize and adopt best practices and conventions on world indigenous intellectual rights and properties.
6. Policy advocacy on curriculum change, legal reform and cultural promotion of the intellectual property of the Wawas and Igbos in West Africa.

Date de création: 1968
Domaine(s):

- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Publications: audio & vidao recordings, written publications

Pays principaux d'activité:

États-Unis d'Amérique

Objectifs:
Founded in 1968, the Center for Traditional Music and Dance, one of the US'premier traditional arts organizations, is dedicated to maintaing the vibrancy of the performing arts traditions of ethnic and imigrant communities through grass-roots community organizing, research-based educational programming and public performances.
Activités:
Since its founding in 1968, CTMD has produced over 900 major presentations including concerts, festivals, tours, CD and fim series, and lectures. Materials gathered by CTMD staff, folklorists, ethnomusicologists and community cultural sepcialists are the basis for subsequent articistic presentations and educational programming. CTMD-produced recordings, publications, and documentary films preserve and document cultural traditions and educate the public about the rich artistic heritage of New York's diverse immigrant/ethnic communities. Annually serving more than 100,000 artists, immigrant/ethnic community, and general audience members, CTMD's programs have a positive impact to ensure that the artistic traditions, which define a commuity, continue to exist and have contemporary meaning for successive generations. Activities include:

- Community Cultural Initiatives - multi-year field research and presentation projects which help community and cultural activists, artists and educators within targeted immigrant/ethnic communities to preserve their cultural traditions;

- An-Sky Institute for Jewish Culture -a partnership with New York University, the JCC in Manhattan, the Workmen's Circle and the Center for Jewish History to research and revitalize the practice of traditional East European Jewish performing arts;

- Masters on Stage -ongoing partnerships with major intitutions (i.e., Linclon Center, New York Historical Society, American Museum of Natural History, the Smithsonian Institution) that are designed to introduce leading practitioners of New York's rich immigrant expressive traditions to wider audiences;

- New York World Festival -a biannual event devoted each time to a different region of the worls. Celebrating New York as the most culturally diverse city in the world, the festival acknowledges the vitality of immigrant and ethnic performing arts and their contributions to the New York City landscape;

- Touring Artists -a fee-based program designated to promote community -based artists and assit these artists access mainstream performance venues and media;

- Archives/Dissemination -over the past thirty-five years, through extensive fieldwork and research, the Center has assembled one of the largest collections of urban immigrant and ethnic music anywhere in America. The collection includes audio and video recordings, photographic documentation and related ephemera on CTMD's presentations and programs. Sound and video recordings are published through CTMS's Ethnic Heritage Recording Series and the Global Beat of the Boroughs series in partnership with Smithsonian Folkways. A monthly eNewsletter provides news, events and informatin about NY's traditional music and dance scene.

CTMD's programs and intiatives help build the cultural infrastructure within immigrant/ethnic communities by bolstering immigrant/etchnic artistic traditions within the communituy and introducing these time-honored and continually evolving traditions to larger, more diverse audiences.

Coopération:
Through its innovative Community Cultural Initiatives (CCI) program, CTMD has worked in partnership with artists, educators and traditional arts advocates to conduct multi-year research, documentation and presentation programs in a number of New York City-based immigrant groups, including the Albanian, Arab, Dominican Irish, Indo-Caribbean, Central Asian, Chinese, Phillipino, Peruvian, Soviet Jewish, Ukrainian, Mexican and West African communities. While CCIs are deeply grassroots and NY-based, they produce ripples that can extend nationally and even internationally. In the 1970s, CTMD's project to document and present Jewish klezmer music helped spark a workd-wide revival. In the 1980s, CTMD helped form the renowned all-women's ensemble Cherish the Ladies which ispired huge interest amongs women across North America ane even Ireland in performing Irish music (previsously a male-dominated activity). In the 1990s, CTMD was the first organization to introduce Indian Bhangra music to the US. And, in the last five years, CCIs have generated the first Mariachi academy on the East Coast as well as the first Peruvian music and dance school for youth in the US.

Date de création: 1980
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Belgique

Objectifs:
Le Centre Albert Marinus (anciennement Fondation Albert Marinus) porte le nom et prolonge le travail d'Albert Marinus (1886-1979), l'illustre défenseur du patrimoine culturel immatériel de a Belgique. Celui-ci œuvra durant toute sa carrière, tant sur le plan national qu'international, pour une meilleure connaissance en ce domaine. II enseigna aussi Ia sociologie et l'économie politique à l'Institut pour journalistes de Belgique. II devint vice-président de Ia Commission internationale des arts populaires auprès de l’UNESCO de 1947 à 1964. II participa également à Ia création à Londres de I'International Folk Music Council dont il fut vice-président de 1947 à 1972. Auteur de nombreux ouvrages de référence, il recréa I'Ommegang bruxellois en 1930.
Le Centre a donc été créé en 1980, en l'honneur d'Albert Marinus, sociologue, folkloriste et humaniste de réputation internationale.

En tant qu'association sans but lucratif, il poursuit un triple but scientifique:

• Ia sauvegarde et Ia diffusion des écrits et des théories d'Albert Marinus ;
•Ia poursuite de Ia recherche en matière d'ethnologie et de sociologie en développant des études sur Ia vie et les traditions populaires, le patrimoine culturel oral et immatériel ainsi que les métiers d'art ;
• Ia sensibilisation du public aux arts et traditions populaires en tant que patrimoine culturel immatériel mais aussi en tant qu'outil de connaissance et de réflexion sur Ia vie sociale.
D'une manière générale, I' association veille à faire prendre conscience au public le plus large de son appartenance à Ia communauté de langue française de Belgique par Ia réalisation de ces objectifs.
Le Centre ne peut réaliser ces objectifs sans contacts permanents avec des organismes, des associations, des chercheurs qui partagent ses préoccupations, en Belgique et à l'étranger. Elle assure à cet égard le role de "plaque tournante de l’information entre théoriciens, chercheurs, praticiens, amateurs ou grand public.


Activités:
Les activités du Centre Albert Marinus comprennent plusieurs volets:
- un centre de documentation;
- des activités culturelles de sensibilisation;
- des activités de formation;
- des activités scientifiques et publications

Coopération:
Le Centre entretient des rapports fréquents avec les acteurs du patrimoine culturel immatériel de Bruxelles et notamment le Meyboom (reconnu par I'UNESCO), I'Ommegang (reconnu par Ia Communauté française), le théâtre de marionnettes de Toone, les différents serments d'arbalétriers. II organise également des échanges d'informations avec les universités belges
(Bruxelles, Liège, Gand, Louvain, Namur) ainsi qu'avec des associations nationales, tant flamandes (VIaamse Centrum voor Volkskultuur, Archief and Museum voor het Vlaams Leven in Brussel…) que wallonnes (Musée de Ia Vie wallonne, Musée en Picon rue, Maison des Géants d'Ath…). Sur le plan international, il communique avec diverses institutions auxquelles il envoie régulièrement ses publications (Sociedad de Ciencias Aranzadi de San Sebastian, Seminario Permanente de Estudios de Cultura Popular et Patrimonial de Ia Region de Murcia, Société française de Mythologie, Société d'Ethnologie française…).

Jean-Paul Heerbrant, directeur du Centre Marinus, siège dans les instances d'avis de Ia Communauté française de Belgique : Conseil d’ethnologie et Commission du Patrimoine oral et immatériel. Les séances régulières de ces associations sont I'occasion de rencontrer d'autres acteurs du terrain et d'échanger points de vue et nouvelles. Ces rencontres ont d'abord pour finalité de juger des candidatures de reconnaissance au titre de Patrimoine oral et immatériel introduites auprès de Ia Communauté française de Belgique et auprès de l’UNESCO, d'accorder des subventions aux praticiens et aux acteurs du patrimoine culturel immatériel ainsi que d’émettre des avis destinés à Ia Ministre de Ia Culture de Ia Communauté française de Belgique.

Date de création: 2005
Budget: U.S.$100000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Publication de livres et de disques, organisation de rencontres et manifestations

Pays principaux d'activité:

Canada, Cuba, Dominique, Jamaïque, République dominicaine, Sainte-Lucie, Venezuela (République bolivarienne du)

Objectifs:
Cette association a pour but la sauvegarde, le développement et la valorisation des musiques et danses traditionnelles, populaires et contemporaines en Guadeloupe, et en particulier:
- de mettre en oeuvre des actions de collecte, de recherche, d’étude et de mise en valeur du patrimoine musical et dansé en Guadeloupe ainsi que des autres formes apparentées des arts et traditions populaires,
- d’assurer un rôle d’information et de conseil des musiciens et danseurs guadeloupéens ainsi que la diffusion régulière d’information par tous les moyens mis à sa disposition,
- de contribuer au développement de toutes actions éducatives en faveur de la sensibilisation et de l’initiation des jeunes publics, en particulier, aux musiques et danses traditionnelles et populaires guadeloupéennes et caribéennes,
- de participer à l’élaboration et à la mise en oeuvre d’un programme de formation spécifique,
- de favoriser la diffusion, l’exportation et la promotion des musiques et danses actuelles et traditionnelles de la Guadeloupe dans la Caraïbe et dans les Amériques, en France, en Europe et dans le reste du Monde,
- d’assurer une mission de relais auprès des collectivités publiques en matière d’expertise et d’évaluation des actions mises en place dans les domaines des musiques traditionnelles et actuelles.
Activités:
1) Collectes des chants et traditions maritimes de la Désirade en collaboration avec Françoise URI-LANCREOT(Musicologue), Diana REY-HULMAN (ethnolinguiste), Robert BOUTHILLIER (Chercheur, ex-Directeur de DASTUM), ce travail est réalisé et se poursuit en collaboration avec l'association DASTUM et Michel COLLEU (spécialiste des chants marins)
2) Collectes des chants et traditions indo-créoles de Guadeloupe en collaboration avec l'anthropologue et danseur, Raghunath Manet
3) Travaux réalisés par Dominique CYRILLE, Ethnomusicologue martiniquaise, Doctorat es Musicologie à l'université Paris-IV-Sorbonne en 1996,chargée de cours au Lehman College, City University of New York. Collecte, étude, recherche et publication sur les Quadrilles de Guadeloupe et les chants de la terre (chants de labours, chants de travail)
4) Manifestations
*Rencontres guadeloupéennes du Quadrille en collaboration avec la Ville de Basse-Terre et la Maison du Patrimoine dans le cadre des Journées Européennes du Patrimoine (janvier 2007)
*Rencontres guadeloupéennes du GwoKa sur thème : Nouveaux enjeux, Nouvelles problématiques (juillet 2008)
*Séminaire d'ethnomusicologie de la Caraïbe : Patrimoine culturel immatériel de la Caraïbe : Sauvegarder et promouvoir les danses et musiques caribéennes, Nouveaux enjeux, nouvelles problématiques avec le concours de : Kwamé BOAFO (Directeur Unesco Caraïbe), Christian HOTIN et Jean-Pierre ESTIVAL (Ministère de la Culture - France), Michael BIRENBAUM QUINTERO (ethnomusicologue - Colombie), Katerine HAGEDORN - USA, Carlos ANDÙJAR Persinal - République Dominicaine, Kennedy SAMUEL - Sainte-Lucie, Thomas Mitchel SCRUGGS - Vénézuéla, et de nombreux chercheurs et artistes de Guadeloupe et de Martinique
5) Promotion, mis en valeur des tenants de la tradition
-Publication de trois disques CD
*Kadri Gwadloup n 1, avec l'accordéoniste Reynoir Casimir dit Négoce
*Kadri Gwadloup n 2, avec l'accordéoniste Jacques Danican et le groupe Flamme Abymienne
*La Tradition du Quadrille, en collaboration avec OCORA Radio France et France Musique (Prix France Musique des Musiques du Monde 2006)
Coopération:
- Coopération avec :
*les associations des marins de la Désirade - 7 et 8 juillet 2007 - Thème : Pourquoi et comment sauvegarder et promouvoir les chants et traditions maritimes ?
*Les associations de quadrilles de Guadeloupe et Marie-Galante - 28 janvier 2007 - Thème : Bokantaj asi Kadri Gwadloup (Rencontres guadeloupéennes du quadrille)
*Mouvement culturel de Grelin (Marie-Galante) - Tradition rurale des chants de labours
*Kozé-Bokantaj (Conférence-débats) avec la communauté guadeloupéenne du GwoKa - Thème : Faut-il inscrire le GwoKa sur la liste représentative du Patrimoine Culturel Immatériel de l'Humanité ?
*Homage rendu aux principaux tenants de la tradition

Date de création: 2005
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Capacity building and institutional support for the conservation and management of movable and immovable cultural heritage in Africa

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Capacity building for African heritage institutions and professionals in all the above intangible cultural heritage undertakings

Pays principaux d'activité:

Afrique du Sud, Botswana, Burundi, Égypte, Érythrée, Éthiopie, Gambie, Ghana, Kenya, Lesotho, Malawi, Maroc, Maurice, Mozambique, Namibie, Nigéria, Ouganda, République démocratique du Congo, Rwanda, Seychelles, Sierra Leone, Soudan, Swaziland, Zambie, Zimbabwe

Objectifs:
CHDA is an international Non-Governmental Organization (NGO) dedicated to the reservation, management and promotion of cultural heritage in Africa through a programme of training and development support services. Its work is mainly with preservation of Immovable, Movable and Intangible Cultural Heritage in Africa.

CHDA started as a program (PMDA), dedicated to heritage resource management and development needs of Museums in Africa. However, from 2001 it increased her activities to encompass the conservation of both movable, immovable and intangible heritage assets. In recognition of these developments and for the organization to be recognized as a permanent institution as opposed to “a program,” PMDA was transformed into CHDA in 2005.

CHDA is mandated to Organize, co-ordinate and develop viable projects and activities for heritage and museum development in Africa, such as the post-graduate diploma course in the care and management of heritage and museum collections in sub-Saharan Africa, in collaboration with the University of Nairobi and University College London, and the Africa 2009 program.
• Provide advice and technical support to museums and heritage institutions
• Diffuse data and information about museums and heritage development
• Work with national institutions, individuals, community heritage projects and custodians of heritage resources to conceive, develop and implement special projects in the field of museum and heritage development
• Work with and complement other regional projects and programmes to ensure the successful implementation of their respective activities
• Contribute to raising the profile of African heritage institutions at local and International levels
• Consolidate the necessary financial and human resources for museums and heritage development.
Activités:
During the life of CHDA, from the year 2000 when it was PMDA (Program for Museum Development in Africa) until today, nearly 1000 heritage professionals on the African continent have gone through the CHDA training programs. In many programs, CHDA invites expert resource persons and also teaching assistants, who use the opportunity to understudy the expert trainer on their way to becoming expert trainers in their own right. These professionals, many of who went on and acquired further qualifications, became part of the CHDA network of heritage professionals, a pool of experts that CHDA draws on for its professional training needs, as resource persons, facilitators and program coordinators in case of need. It is important to note that the network has experts in most of the different aspects of heritage management, including tangible, intangible, movable and immovable heritage. They also have loyalty and commitment to CHDA, having come through it in the development of their professional careers.

A few of the programs CHDA has undertaken in the past and which had a direct bearing on intangible heritage management included:
1. Endangered Heritage Assets Program (EHAP)
This program was undertaken by CHDA in 2004-2005 successfully sought to identify, document and disseminate the tangible and intangible cultural heritage of the Mijikenda people of the Kenyan coast, especially those that are threatened with extinction.

2. The three-year en-compass project
The project began in October 2010 and is on-going. It brought together participants from China, England, Guyana, and Kenya (with the remit for Anglophone Africa)
The program looked at issues related to the dangers and challenges faced in the protection of intangible and tangible cultural heritage in all participating countries. The participants used these issues to develop a coherent programme which they used to mobilize people in their countries/regions by conducting awareness and dissemination campaigns, aimed at helping people become more aware of the dangers and challenges faced in terms of the promotion and safeguarding of cultural heritage, both tangible and intangible.The program activities also included a workshop to scope and audit key tangible and intangible heritage resources, including cultural expressions, products and services in each partner country.
These in-country workshops provided a focus and momentum for long-term on-going scoping and auditing activities post training. However, the information and material gathered through the scoping exercise was also fed onto a database, used to create the online and published catalogues- this process is still on-going. The project also intends to create an inventory of cultural heritage resources (Tangible and Intangible), including those at risk in the short-term from the scoping exercise undertaken in each of the three partner countries. The catalogue of cultural heritage assets (both tangible and intangible) collected will be researched and used to design and develop a travelling exhibition that will go around all the participating countries.
In the last year of the program, three practitioners from Africa (Kenya, Zimbabwe and Zambia) were admitted for a Master’s Degree Course in Heritage management at the Newcastle University, UK.

3. Post-Graduate Diploma Courses
CHDA held 2 nine-month Post-Graduate Diploma Courses in Heritage Management, in collaboration with the University of Nairobi and the University College, London. This course had a whole unit dedicated to "Indigenous knowledge systems and community involvement", which is basically training in intangible heritage of communities.

4. Africa 2009 Courses
CHDA hosted the 3-month Africa 2009 courses for 1999, 2002, 2003, 2005, 2007 and 2009
One of the issues Africa 2009 program addressed was the issue of insufficient human resources and capacity for management, conservation, and maintenance of immovable heritage properties on the continent, using traditional methods and materials. This means that traditional methods, knowledge and skills, which are basically intangible heritage assets, were being mainstreamed in the program, in a participatory approach involving local communities in the conservation planning and management processes. For example, the field projects aimed to establish self-confidence within the local custodians and to enhance their recognition as efficient professionals. The project also worked to integrate traditional techniques in conservation of monuments resulting not only in monuments that are responsive to local environments, but also to the sustenance and promotion of traditional skills - the intangible heritage within the local communities.

5. Workshop on Recording Intangible Heritage
In February 2005, CHDA organized and hosted a three-day workshop on Recording of Intangible Heritage. The aims of the course was to produce professionals who can record Intangible Heritage appropriately and to enable trainees effectively apply methodologies, standards, and equipment for recording Intangible Heritage. The main course objective was to enable participants to record Intangible Heritage using digital and video cameras in line with laid down standards and procedures as provided in the course.

6. Capacity Building in Universities
CHDA also undertook training on strengthening capacities of African Universities in intangible cultural heritage, on behalf of UNESCO/ICH section at the CHDA Centre in Mombasa between 18th and 22nd June 2012.
Coopération:
These are just a few of the courses that CHDA has implemented. It is important to note that apart from special trainings deliberately designed to inculcate knowledge and skills among heritage professionals on how to work with communities and stakeholders; how to involve them in all heritage management/conservation activities; how to ensure economic benefits for them, e.g. the training course on stakeholder participation, CHDA has always appreciated the fact that the communities are the ultimate custodians of heritage properties, managing and conserving them in their day-to-day actions. For this matter, community participation has always been incorporated into the programs CHDA offers its participants - either by making it part of the teaching learning content or by inviting community members as participants in training programs to exchange issues with professionals, learn from and teach them and to create networks for future exchange.
In the last training that CHDA held in Zimbabwe on Risk Preparedness for Heritage properties between 6th and 18th May 2013 for example, two community members were invited as participants to help build an understanding among professionals on the traditional approaches to risk management of the Great Zimbabwe, as well as to help us understand the community needs and expectations from the professionals in their professional work of management and conservation.

Date de création: 1984
Budget: U.S.$895000
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
Le CRéCET a pour objectif de promouvoir ou réaliser des actions de recherche, de documentation, de diffusion et de valorisation culturelle, de conseil, d'assistance et de coopération dans le domaine des patrimoines ethnologique et technique. Il agit en liaison avec de nombreux partenaires: institutions muséographiques et de conservation du patrimoine, centres de recherches, centres de formation, collectivités publiques, groupes professionnels et sociaux. Depuis 2003, il gère et anime les activités du "Réseau des musées de société de Basse-Normandie" dont il est à l'initiative et qui regroupe 60 musées publics ou appartenant à des organisations à but non lucratif en vue de conforter leurs coopérations scientifiques, culturelles et techniques. Le CRéCET développe des outils de diffusion et de mise en valeur du patrimoine ethnologique à destination du grand public notamment au travers les publications de sa collection « Les carnets d'ici" ; son action de diffusion doit prochainement s'amplifier par un usage accru de l'édition numérique. Il organise depuis quinze ans à Caen une manifestation cinématographique - « La Semaine du cinéma ethnographique ».
Activités:
En termes de patrimoine culturel immatériel, l'activité du CRéCET est assise principalement sur une démarche de recherche et de documentation de nature à faciliter l'identification des éléments. Il oeuvre de façon pluridisciplinaire en utilisant les outils et les méthodes développées par les sciences humaines et sociales et plus particulièrement celles de l'ethnologie qui implique une forte interaction avec les individus et les groupes sociaux concernés.

Depuis la création de l'association, ses activités d'étude et de mise en valeur du patrimoine ethnologique se regroupent en cinq grands thèmes majeurs correspondant à la fois à des enjeux importants pour la cohésion et l'avenir du territoire régional ainsi qu'à la mémoire et aux évolutions des groupes sociaux ou professionnels.
- La société et les milieux maritimes et littoraux,
- l'évolution des modes de vie ruraux et urbains,
- les connaissances naturalistes et la gestion traditionnelle des écosystèmes,
- les savoir-faire techniques traditionnels et leurs transmission,
- les cultures et les mémoires professionnelles...

Au sein de ces grands thèmes, les actions sont le plus souvent engagées en appui à des projets ou des problématiques développées par des collectivités locales ou souhaitées plus directement par divers groupes sociaux ou professionnels. L'association peut agir seule mais le fait souvent en partenariat étroit avec d'autres organismes à vocation patrimoniale.

Ces dernières années, les travaux ont plus particulièrement portés sur la connaissance et la mémoire des métiers liés à l'exploitation des espaces portuaires; la redécouverte et la transmission de savoir-faire des métiers traditionnels du bâtiment (techniques de la construction en silex et en terre crue) ; ou encore sur la mémoire des habitants de plusieurs quartiers en mutation de la ville de Caen. L'équipe du CRéCET participe activement à la collecte de la mémoire des communautés ouvrières et professionnelles issues d'industries disparues ces dernières décennies (activités sidérurgiques et minières, par exemple..) ; elle a participé à la réalisation de plusieurs films regroupés, en 2010, dans un double OVO intitulé « chroniques industrielles en Normandie».
L'association a également conduit, en partenariat avec le ministère de la culture, un inventaire des pratiques religieuses et rituelles attachées à certains arbres et végétaux remarquables.

Au delà des travaux qu'il conduit lui-même, le CRéCET mène une activité de conseils auprès des acteurs du territoire (villes, acteurs culturels et patrimoniaux, associations) et vient en appui pour le développement d'actions en rapport avec son domaine de compétences. C'est ainsi qu'il a très activement participé, au côté de la ville et de la communauté des dentellières, à l'élaboration du dossier de candidature au PCI du «
Savoir-faire de la dentelle au Point d'Alençon ». Il participe également à l'organisation de séminaires et de journées d'études à destination des acteurs culturels du territoire de nature à favoriser une meilleure approche du patrimoine culturel immatériel à l'instar des rencontres organisées en 2005 à Rouen sur le thème de « la mémoire orale ». De même, les salariés du CRéCET interviennent dans différentes formations dispensées à l'Université de Caen où ils contribuent à sensibiliser les futurs acteurs professionnels du patrimoine aux spécificités du patrimoine culturel immatériel.

La plupart des travaux et études réalisées donne lieu à des restitutions aux populations et groupes concernés sous diverses formes et font l'objet de publications en particulier dans la collection « Les Carnets d'ici» éditée par le CRéCET à destination d'un large public. La restitution sous forme numérique (OVD, Internet) apte à prendre en compte toutes les dimensions du patrimoine collecté ou révélé (images fixes et animées, sons) et à mettre en valeur les spécificités du patrimoine immatériel sera une voie de diffusion à l'avenir privilégiée, en particulier à partir des sites Internet de l'association: www.crecetfr et www.musees-basse-normandie.fr. Par ailleurs, au travers de la programmation du festival « La semaine du cinéma ethnographique »(16ème édition en 2010), l'association s'attache, au travers de thématiques annuelles, à favoriser un regard croisé sur le patrimoine culturel immatériel.
Coopération:
Les travaux de recherche et de documentation sur le patrimoine culturel immatériel conduit par le CRéCET résultent le plus souvent d'une demande exprimée par un territoire ou de la sollicitation d'une communauté. Ainsi de nombreux projets sont coproduits avec des instances territoriales (parcs naturels, collectivités territoriales) ou des associations à vocation sociale, culturelle ou professionnelle représentatives des communautés ou des groupes.

L'investigation ethnologique et la collecte d'éléments ne peuvent se faire sans la participation active et le plein accord des populations et groupes concernés ou de leurs représentants. Tous les enregistrements d'entretiens, les photographies et les vidéogrammes réalisés durant les enquêtes reçoivent l'accord écrit des personnes et des groupes concernés qui autorisent (ou non) leur exploitation culturelle et leur diffusion.

Le CRéCET s'attache depuis de nombreuses années à conserver, soit dans ces propres locaux soit en déposant certains fonds dans des services spécialisés (archives, musées... ), les matériaux bruts de collecte - aujourd'hui essentiellement sous forme numérique - qui constituent des parcelles de mémoire des collectivités. Sauf accord exprès des personnes ou groupes directement concernés, l'accès à ses documents est restreint et leur utilisation soumise à autorisation afin de protèger la vie privée et la cohésion des groupes.

Par ailleurs, le CRéCET assume l'animation d'un réseau qui regroupe 60 musées (au sens de !'Icom). Une dizaine appartient à des organisations non gouvernementales, souvent issues d'anciens milieux professionnels (mineurs, par exemple) dont ils reflètent la mémoire et assurent la survivance sociale. L'équipe du CRéCET accompagne ces musées dans "identification, la collecte et la conservation des éléments du patrimoine immatériel des communautés dont ils sont l'émanation.

Enfin l'association agit en étroite relation avec ses principaux partenaires institutionnels que sont le Conseil régional de Basse-Normandie et le Ministère de la culture (Drac de Basse-Normandie).

Date de création: 1993
Budget: U.S.$36300
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- patrimonio cultural gastronomía tradicional

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- desarrollo de instrumentos metodológicos para el registro y elaboración de inventarios aplicación de sistemas de información geográfica al inventario y promoción del patrimonio cultural

Pays principaux d'activité:

Mexique

Objectifs:
-To create a collection of documents, specialized in popular arts, crafts and traditional cuisine, which includes a library, archive, serial publication fund and photo library, to be used mainly by researchers, popular artists, artisans and culture promoters.
-To develop research intruments, such as: thesaurus, cartographies and specialized bibliographies, among other.
-To document current technology used in the craftwork production processes and its problems.
-To carry out research in the field of popular arts and crafts in collaboration with educational, promotion and cultural institutions.
-To support rescue and safeguarding actions and the study of cultural processes related
with popular arts, crafts and traditional cuisine.
-To promote the best expressions of popular arts and crafts by carrying out and
supporting contests and exhibitions.
-To participate in the registry and cataloguing of craftwork and traditional cuisine
expressions.
-To participate in the promotion, registry, documentation and preservation projects of
popular arts, craftwork and traditional cuisine.
Activités:
-Gives consultation services on its library, archive, photo library and serial publication funds.
-Carries out research in the field of cultural heritage with special emphasis on popular arts and crafts, traditional cuisine and cultural tourism.
-Develops research instruments, such as: thesaurus, specialized bibliographies and handicraft cartographies.
-Participates, together with public institutions and civil organizations, in the promotion, preservation and protection of the cultural heritage with special emphasis on popular arts, crafts and traditional cuisine.
-Gives workshops for social organizations at a community level to increase registry, protection and promotion of the cultural heritage.
-Participates in national and state competitions of popular arts and crafts to recognize masters and their works.
-Participates in the Specialist Committee, working on the development of the methodology and the survey for the inventory of intangible cultural heritage of Mexico.
- Organizes and participates in meetings, congresses and round tables in which reflect on Mexican and Latin American cultural heritage.
Coopération:
-It gives workshops on recognition, evaluation and registry for the communities to develop projects for strengthening, conservation and promotion of intangible cultural heritage.
-It is presently developing the digital atlas of popular Mexican art with the collaboration of artisans and popular artists.
-It participates in the Specialist Committee for the development of the methodology and the survey for the inventory of the intangible cultural heritage of Mexico, in which the communities will have a predominant role.

Date de création: 1968
Budget: U.S.$60000
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- revitalization

Pays principaux d'activité:

Espagne

Objectifs:
El Centro de Estudios BOljanos es una entidad dependiente de la institución "Fernando el Católico" que desarrolla su actividad en 24 municipios de la provincia de Zaragoza (España) y tiene su serle en la Casa de Aguilar, un palacio del siglo XVI, rehabilitado con este fin, donde se encuentra su biblioteca, sala de investigadores, sala de exposiciones, salón de actos y oficinas.
Su actividad se centra en la investigación, difusión y promoción del Patrimonio Cultural de su zona de influencia. Dentro del mismo, uno de los objetivos prioritarios es el estudio, difusión y preservación del Patrimonio Cultural lnmaterial, a través de su Sección de Etnología. En este sentido, su labor se centra en la recopilación de materiales etnológicos, textos, músicas, etc. y en su difusión a través de distintas publicaciones.
Desde su fundación, uno de sus objetivos ha sido la creación de un Museo de Etnología, habiendo logrado reunir un importante conjunto de materiales.
Dispone de una revista cientifica propia: "Cuadernos de Estudios Borjanos", donde se dan a conocer los trabajos de investigación realizados. Tiene también un boletín informativo trimestral y varias series monográficas.
Activités:
Dentro de las actividades del Centro que abarcan campos muy diversos: Arte, Arqueología, Historia, Bibliográfica etc. los trabajos relacionados con el Patrimonio Cultural lnmaterial se canalizan a través de la Sección de Etnología.
A 10 largo de estos 40 años de existencia han sido muchas las actividades desarrolladas para la preservaci6n de las tradiciones de la comarca. Entre alias destacan la realización de ciclos de conferencias, cursos y seminarios sobre esta materia y, asimismo, ha desempeñado un papel muy importante en la difusión de la artesanía tradicional de la zona
En la actualidad tiene en marcha un programa de trabajo para la publicación de los dances tradicionales de la comarca. Otro para la realización de documentales sobre antiguas tradiciones, y esta llevando a cabo un proyecto de investigación sobre tradiciones de los distintos municipios que incluye la recogida de datos sobre el ciclo
tradicional festivo, romances, coplas, músicas populares etc.
Coopération:
Entre las experiencias mas destacadas figura la puesta en marcha de una Feria de Artesanía en Borja, creada en 1978 que sigue celebrándose todos los domingos del mes de agosto con participación de artesanos de la zona
Ha creado en diversos municipios grupos de personas que tienen como fin la recopilación del Patrimonio Cultural lnmaterial y, asimismo, ha puesto especial interés en la salvaguarda de una de las manifestaciones mas importantes, el dance, bailes de palos y espadas que se llevan a cabo con motivo de determinadas festividades en casi todas las localidades de la zona

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Practices and knowledge concerning territorial and territorial rights

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Brésil

Objectifs:
Our aim is to work alongside with indigenous groups so that they can assume effective
control over all interventions that occur in their territories, informing them about the
Brasilian State's role in the protection and guarantee of the indigenous peoples'
constitutional rights. The Centro de Trabalho lndigenista has as its mission and identity
trait the direct support that we offer to the indigenous groups with which we work,
assisting them with the resources and technical support that they need to accomplish
greater political and economic autonomy, always respecting the sociocultural universe
pertaining to each indigenous community. In other words, the projects developed by the
Centro de Trabalho lndigenistas are projects in which the indigenous peoples involved
are coauthors and collaborators and in which their traditional knowledge and practices
are respected and affirmed.
Our main objectives are:
- The promotion and circulation of community-organized projects in the areas of
agriculture, education, health and culture;
- Development of actions which contribute with the legal recognition of lands
traditionally occupied by indigenous people;
- Preservation and protection of the natural environment of the indigenous lands;
- Development of actions that promote and enhance the transmission of the indigenous
peoples' traditional knowledge and practices;
- Production of audio-visual material with the indigenous groups so that they may
circulate and preserve their traditional knowledge and practices;
- Promotion of occasions in which the indigenous groups may exchange experiences
and information with other communities, research centers and organizations;.
Activités:
The Centro de Trabalho Indigenista works with the promotion and protection of
indigenous peoples' rights. These include territory, health, education and cultural rights.
We understand that these domains are not segregated, eventhough the Brazilian State
frequently separates them in different policies and agencies. Therefore, in working with
the indigenous for the recognition of their land and the preservation of its natural
resources, we are better able to work towards the promotion, transmission and
protection of their cultural heritage. We have aquired experience in the domain of
intangible cultural heritage, working with various indigenous groups over the last thirty
years. Currently, we are working with the Guarani people in a large project of register
and safe-guard of their intangible heritage. The project is developled in cooperation with
the Brazilian official agency responsible for intangible state policies (Insituto do
Patrimonio Hist6rico e Artistico Nacional) and the Spanish International Cooperation
Agency (AECI). We are researching vast documentation concerning the Guarani in all
public archives in the south and southeast regions of Brazil, aiming at producing the
most complete reference material available, so that the indigenous people, researchers,
government workers and policy makers and other people interested in learning more
about the Guarani and their culture or in promoting actions in colaboration with the
Guarani can have access to this information. This reference material includes, books,
reports, academic research, maps, fotographs, and audio visual registers from the
nineteenth century to present day. We are also working with the Guarani to identify the
aspects of their intangible heritage which they endeavor to preserve, protect and
transmit to future generations and are creating the means for this to be accomplished in
a long-term plan. This endeavor to affirm Guarani culture also includes the awareness of
the non-indigenous people who surround their communities and non-indigenous society
in general. Through the production of materials which contribute with this awareness, we
are hoping to promote better relations and understanding among these groups.
Coopération:
The Centro de Trabalho Indigensita has worked with indigenous communities for the last
thirty years. We have worked in collaboration with the members of various indigenous
groups, so that the indigenous may assume greater control over interventions that affect
their communities and gain greater political and economic autonomy. We recognize that
for this to be accomplished it is necessary that the indigenous have a good understanding of their rights and the means by which they can guarantee respect for
these rights. On the other hand, it is of fundamental importance that we acknowledge
each indigenous group's specific forms of political, social and cultural organization and
help governmental and non-governmental agents to better understand these forms and
respect them. In recognizing these aspects, we are able to develop more effective
actions, in which the indigenous people are protagonists.

Date de création: 2008
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Angola, Brésil, Canada, Chili, Espagne, États-Unis d'Amérique, France, Inde, Maroc, Mauritanie, Mozambique, Portugal, Sénégal, Timor-Leste

Objectifs:
The primary objective of CRIA is to promote the advancement of Portuguese anthropology and its internationalization through the development of theoretical and applied research projects, the promotion of events encouraging scientific debate and the diffusion of research (congresses, seminars and conferences), the edition of scientific publications (promoting the national and international diffusion of research project results), the organization of courses and connected activities of postgraduate teaching level, the encouragement of international network-based collaboration in research projects or groups, as well as in other international collaborations that promote scientific diffusion, the establishment and reinforcement of cooperative relationships with similar institutions, both national and international, the reception of undergraduate students, graduate students and PhDs, helping with their integration in the scientific community.
CRIA’s general objectives are framed by four main thematic research lines: 1.“Social Identities and Differentiation”; 2.“Culture: Practices, Politics, Displays“; 3.“Migrations, Ethnicity, Citizenship”; 4.“Power, Knowledges, Mediations”.
Although safeguarding intangible cultural heritage is not CRIA's primary objective, a majority of its researchers (working mostly, but not only, within two thematic lines: "Culture: Practices, Politics, Displays" and "Power, Knowledge, Mediations") deal directly or indirectly with this issue. They explore it from a theoretical and analytical standpoint, and they resort to it as a framework for applied research and for intervention on the field. Constantly tackling such concepts as “culture”, “knowledge”, “identities”, “ethnicity” or “differentiation”, CRIA’s members study very diverse social and cultural contexts. Their ethnographic activity provides the empirical basis and the cultural knowledge that are necessary for an objective assessment of the relevance, interest, urgency, viability and sustainability of safeguarding initiatives.

Additional information:
CRIA contributes in direct and indirect ways to safeguard Intangible Cultural Heritage (lCH) through the activities of its researchers, namely through:

Theoretical and reflexive examinations of the notion of ICH, thus contributing to its conceptual understanding and elucidation. This is especially the case in activities Iinked to CRIA's main research lines: Culture: Practices, Polities, Displays" and "Power, Knowiedge, Mediations".

The organization of conferences and public lectures which allow for the diffusion of this knowledge to society in general and particularly to cultural agents and mediators. Some examples: Maria Cardeira da Silva, 2008: Cultura fora - Conversa sobre a candidatura do FADO a património da Humanidade. With Pedro Félix (INET-FCSH) Jean-Yves Durand, 2003: conference "Ethnographic Heritage, museums and development", CEAS (CRIA)/NEA, Vila Verde Township, Universidade do Minho.

Consuiting activities requested by organizations and institutions dedicated to the survey, study and promotion of ICH. Some examples: Cláudia Sousa contribution to GRASP, Great Apes Survival Partnership, project of the United Nations Environment Programme (UNEP) and the United Nations Educational, Scientific and Cultural Organization (UNESCO) to lift the threat of imminent extinction faced by gorillas (Gorilla beringei, Gorilla gorilla), chimpanzees (Pan troglodytes), bonobos (Pan paniscus) and orangutans (Pongo abelii, Pongo pygmaeus) across their ranges in equatorial Africa and south-east Asia; Joäo Pedro Galhano, participation at "Projet de sauvegarde de la chasse à I'arc traditionnelle des Gourmantché." ONG BAIL (Niamey), Ministère de l'Environnement (Niger) et, possiblement, UNESCO.

The establishment of co-operation protocols and the joint organization of initiatives with the nationallnstitute for Museums and Preservation (IMC): Clara Saraiva, Museu da Luz, May 2008, joint conference with IMC, "Museus e Património Imaterial, agentes, fronteiras, identidades. Memória, Identidade, Projecto"; Maria Cardeira da Silva, 2008: Portuguese Fields: What do Anthropologists do? Museums and Intangible Heritage (Conference), CRIAlIMC/Ministério da Cultura.

The direct involvement of researchers and academies with local, national and international institutions developing projects aiming at the safeguard of Portuguese ICH, both in national territory and in different parts of the world: Clara Saraiva, 2008: Conference IDEMEC-CRIA "Rituels d'hiver avec masques. Réinvention culturelIe et performance: un cas portugais", IDEMEC, Maison Méditerranéenne des Sciences de I'Homme, Université d'Aix-en-Provence.
Activités:
The competence and expertise of CRIA researchers in the field of intangible cultural heritage come from their academic background as anthropologists and from the intense ethnographic activity that is inherent to their research. The scope of their research encompasses rural and urban settings. As a result of their lengthy presence in the field, they come to gain a deep cultural intimacy with the communities and groups they study and whose life they share. They are therefore often seen by these as valid contributors and partners in actions aimed at the safeguarding of local cultural heritage.
In order to be a full member of CRIA, an investigator must hold a PhD. Students can be associate members. The members listed below have recently worked on themes that are relevant for the promotion and protection of intangible cultural heritage:
-- Conceptions of, and interaction with “nature”: Amélia Frazão, Cláudia Sousa, João Galhano.
-- Craftmanship: João Leal, Jean-Yves Durand, Vera Alves, Denise Esteves, Clara Saraiva.
-- Cognition, scientific/lay knowledge: Amélia Frazão, Jean-Yves Durand, Maria Manuel Quintela, Manuela Ivone Cunha.
-- Culinary practices and traditional gastronomy: João Alpuim, Amélia Frazão.
-- Ethnobotany: Jean-Yves Durand, Amélia Frazão.
-- Ethnomusicology: Miguel Moniz (in migration contexts).
-- Festive events: João Leal, Miguel Vale de Almeida, Paulo Raposo, Luís Silva.
-- Life histories, social memory: Ana Lavado, Elsa Lechner (mostly among migrants), Humberto Martins, Luís Cunha, Antónia Lima, Emília Marques, Francisco Oneto Nunes, Inês Fonseca, Filipe Reis, Brian O’Neill.
-- Literature and oral literature: Margarida Fernandes, Filipe Reis.
-- Ludic activities, traditional games: Ana Lavado.
-- Maritime cultures: Francisco Oneto Nunes, Christine Escallier, João Alpuim.
-- Museum projects, ethnographic exhibitions: Jean-Yves Durand, Clara Saraiva, Nuno Porto, João Alpuim, Anthony Shelton.
-- Performing arts (popular theater, dance, audio-visual media, historical re-enactments): Luís Silva, Maria José Fazenda, Teresa Fradique, Paulo Raposo, Sófia Sampaio.
-- Popular art: João Alpuim, Vera Alves, Sónia Vespeira de Almeida.
-- Rituals: João Leal, Clara Saraiva, Miguel Vale de Almeida, Paulo Raposo.
-- Rural/urban popular culture: Paulo Raposo, Sónia Vespeira de Almeida, Teresa Fradique, Vera Alves, António Medeiros.
-- Social uses of Space and landscape: Sandra Xavier, Jean-Yves Durand, Luís Cunha, Rosa Maria Perez, Filomena Silvano.
-- Therapeutic practices, healing: Clara Saraiva, Jean-Yves Durand, Maria Manuel Qunitela.
-- Traditional costume: João Alpuim, António Medeiros.
-- Traditional techniques, social uses of technology: Christine Escallier, Jean-Yves Durand, Emília Marques, Francisco Oneto Nunes, Jorge de Freitas Branco.
-- Vernacular architecture: Jean-Yves Durand, João Alpuim, Clara Saraiva.
Many CRIA researchers conceive of their research as visual anthropology (among whom chiefly Catarina Alves Costa, an internationally renowned documentary film-maker).
CRIA members also necessarily carry out an epistemological and methodological reflection in such fields as museum studies, tourism, conservation, heritage: Maria Cardeira da Silva, Anthony Shelton, Nuno

Additional information:

The competence and expertise of CRIA's researchers in the field of ICH come from their academie background as anthropologists and from the intense ethnographic activity inherent to their research, carried out both in rural and urban settings, in Portugal and abroad.

As a result of their lengthy presence in the field, anthropologists come to gain a deep cultural intimacy with the communities and groups they study and whose Iife they share. Therefore, they are often seen by the latter as valid contributors and partners in actions aimed at the safeguard of local cultural heritage.

Our researchers have worked on themes that are relevant for the promotion and protection of ICH and their work stimulated processes that contributed to actions regarding the safeguard and revitalization of cultural heritage by the communities involved. Some examples:

Amélia Frazäo-Moreira worked c10sely with the Polytechnic Institute in Bragança, Fragua Association and "Ecomuseu de Picote-Miranda do Douro" on the joint development of dissemination and training activities in the management and conservation of local plants genetic resources, particularly for the collection and retention of knowledge and specimens in the area of Parque Natural do Douro Internacional.

Paulo Raposo conducted a funded research project on the processes of folk culture objectification in Portugal which has led to a privileged relationship with local communities and cultural organizations in Northern Portugal, resulting in his being
requested to provide information and support to the conception and establishment of an on-site local museum in Podence.

Jean-Yves Durand is involved in an international network (France, Italy, Spain, Canada, Mexico) dedicated to the investigation and promotion of handierafts and was recently appointed Director of the Museu da Terra de Miranda (Portugal), where he has launched a study of homing-pigeons races, a controversial local tradition.

Joäo Leal led a funded comparative research on the processes of transnationalization of Azorean cultural elements in Brazil and the USA. As a result of this project, the anthropologist was invited to work as a consultant (2001-2005) for the Mapping of Azorean-Based Culture, promoted by a research center in Santa Catarina, Brazil, an initiative involving thousands of activists representing the communities of Azorean-based culture in that state. Leal is currently (sinee 2005) a member of the Scientific Board of the Azorean Communities Portal, which aims at spreading the Azorean culture along the
diaspora. He is also a member (sinee 2008) of the network of activists and academies who have been organizing the International Congresses on the Holy Spirit (2008, 3rd edition).

Emllia Margarida Marques has worked for the township of Marinha Grande (Portugal) creating an archive and documentation database (1996-1997) now available at the local public historical archive - also created in part as a result of the project. Work included the inventory and organization of local archive documentation (in parish councils, associations, and schools); providing support to schools and teachers on matters of local history; talks/lectures on the local history by invitation of the local institutions (municipality, schools) and organizations (social clubs, glass workers' union). The
anthropologist was further invited by the municipality to conduct two studies on the local glass industry, published during the commemorations of its 250th anniversary.

Cláudia Sousa and Amélia Frazäo Moreira have been studying the chimpanzee distribution and relation with local human communities in the coastal area of GuineaBissau. This project is intended to provide a better understanding of the relationship between a) local human populations, b) other animais, namely chimpanzees, c) the forests surrounding these African villages. It contributes to the development of a national strategy for the preservation of the species, taking into account the needs of the local human population. Studies about the cultural perceptions of animals in general and chimpanzees in particular were undertaken by the researchers. The results have been incorporated in the discourse of tourism guidebooks, thus encouraging its conservation. Claudia Sousa collaborated in the training of rangers of IBAP (Institute for Biodiversity and Protected Areas, Guinea-Bissau) and eco-guides (tour guides in a project of the NGO AD - Action for Development), on issues related to the behavior and ecology of primate species in the country, the techniques used for monitoring these species and special care that people should have when they move into the forest.
Coopération:
Conceived and funded (generally by Fundação para a Ciência e a Tecnologia), as academic research, many projects and events promoted by CRIA (or the research centers that preceded it) meet the needs and expectations of local groups and grassroots organizations.
Research: (title; coordinator; funding; date)
-- Portuguese Castles aboard II. Heritage, Tourism and Portuguese cultural cooperation in African contexts; Maria Cardeira da Silva; FCT; 2006.
--“Lenços de namorados”: study and certification of traditional embroideries from Northern Portugal; Jean-Yves Durand; CCDRN; 2005-2006.
-- Ethnobotany of Northeastern Portugal: local knowledge, plants and uses; Amélia Frazão; FCT; 2004.
-- Aldeia da Luz: ethnography and museography of a drowned village; Clara Saraiva; EDIA; 2005.
-- Modernization and change in Portuguese hydrotherapy; Cristiana Bastos; FCT; 2002.
-- Colonial Logics. Space and Society in Goa; Rosa Maria Perez; FCT; 2001.
-- (Re) Encountering the Past: An Anthropological Study of the East Timorese
Community; Brian O’Neill; FCT; 2001.
-- USA and Brazil: Processes of Transnationalization of "Açorianidade"; João Leal; FCT; 1999/2000.
-- Objectification Processes of Popular Culture: two complementary approaches; João Leal; FCT; 1998.
Scientific Meetings/events
2009:
-- CRIA was official partner of the ONG Memoria Media for the International Day of Life Histories, http://www.historias.memoriamedia.net/vida/
-- D. Afonso®: contemporary appropriations of a national hero (ethnographic and iconographic exhibition); Jean-Yves Durand; Guimarães City Council.
2008:
-- Portuguese Fields: What do Anthropologists do? Museums and Intangible Heritage (Conferences), CRIA/IMC/Ministério da Cultura.
-- Cultura fora – Talking about Laws, Institutions and Intangible Heritage, CRIA & IMC.
-- Rituels d'hiver avec masques. Réinvention culturelle et performance: un cas portugais, CRIA/IDEMEC, Aix-en-Provence.
-- 7th Séminaire d'Ethnobotanique Européenne, CRIA/Musée Ethnologique de Salagon.
-- Animal Fights: History and Ethnography of a “tradition”, anthropology of the constitution of the “intolerable”, CRIA/Ecomuseu do Barroso.
2004:
-- Life Histories: New theoretical and methodological challenges, CEAS.
-- The Politics of Folk Culture: Reflections from the Lusophone World; CEAS/UMass Dartmouth (USA); proceedings: Etnográfica (9)1: http://ceas.iscte.pt/etnografica/2005_09_01.php
2003:
-- Anthropology, Art and Museums; CIA/University of British Columbia, U.Lisbon/Fundação
Calouste Gulbenkian.
-- Ethnographic Heritage, museums and development; CEAS/NEA, Vila Verde Township, Universidade do Minho.

Additional information:

CRIA's anthropologists partake in projects always implying close and intense relationships with communities and groups based on mutual respect: deontology of ethnography-making requires in all cases the researchers' respect for the individuals,
groups and institutions they work with. Examples of co-operation contributing to ICH's safeguard:

Jean-Yves Durand led a multidisciplinary research on lenços de namorados (a form of embroidery) involving different townships, organizations of embroiderers, national agencies for the promotion of crafts. Results were published and allowed for the definition of norms of certification, as forgeries of this product had started to be imported, jeopardizing the income of hundreds of women who had gained social autonomy thanks to their work. Risks of fossilization and reification of the product were avoided by introducing a specific certification category for "Innovations".

Durand also co-organized, with alocal ecomuseum, an international conference on "Animal fights". The controversial tradition of bull-baiting (and, on alesser scale, of cockfighting) is strong in a small region of Northern Portugal. lts practitioners now reformulate it as "Iocal heritage" and clash with animal rights activists. Observing the dynamics of this controversy, the anthropologist can act as a go-between. Appointed Director of a local museum, Durand launched a study on homing-pigeons races which raise similar issues.

Clara Saraiva coordinated a multidisciplinary team working in Aldeia da Luz, a rural community in Portugal forced to abandon their old village to relocate when a government-sponsored dam was built which would leave their homes underwater. Fieldwork with the population was done to create an ethnographic record of the community before relocation and to document their resettiement not far away. Results were used to form the local museum, generating a living memory of the village and its recreation.

Joäo Leal studies cultural and festive practices of Azorean migrants in North America, participating personally in transnational networks of cultural and intellectual agents. Leal's observation and reflection about the transformation undergone by these cultural practices when they shift from the original context to migratory ones, and the impact of
that transformation back on the Islands, is relevant to the documentation and registry of this process.

Date de création: 1996
Budget: U.S.$60000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- Convivence interculturelle

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Argentine, Cuba, Espagne, Gambie, Grèce, Italie, Paraguay, Roumanie, Togo

Objectifs:
Promouvoir les hauts idéaux, principes et valeurs de l'UNESCO, tant en Espagne qu'aux divers régions de l'UNESCO (Europe, Amérique Latine et Caraïbes, etc.).
On peut concrétiser sur les suivants objectifs spécifiques:
- Développement durable, dans le cadre philosophique de l'UNESCO.
- Sauvegarde et mise en valeur du patrimoine culturel aussi bien matériel, dans ses volets historique-artistique et naturel, qu' intangible.
- Contribuer à la réussite des objectifs du millenium de l'ONU.
- Renforcer le modèle politique démocratique à travers la formation de la société civile.
Activités:
Nous énumérons brièvement les dernières activités réalisés:
- Participation à la deuxième réunion du Comité Intergouvernemental de la Convention PCI, à Tokyo (Japon) du 3 au 7 septembre 2007.
- Participation aux Premières Journées Nationales sur la Protection de l'Environnement et le Patrimoine Culturel, à Matalascañas - Huelva (Espagne) du 3 au 6 octobre 2007.
- Participation au V Congrès Ibéroaméricaine de Parcs et Jardins Publiques, à San Miguel de Tucumán (Argentine) du 2 au 13 novémbre 2007.
- Organisation et tenue de la Rencontre Euro-Arabe du Réseau Civil de l'UNESCO, à Melilla (Espagne) du 21 au 24 novembre 2007.
- Participation en tant que conseiller de la Délégation Oficielle Espagnole à la 34 Conférence Générale de l'UNESCO, à Paris (France) pendant les mois d'octobre et novémbre 2007.
- Participation aux évènements du 25º anniversaire de la déclaration du Centre Historique de Florence (Italie) comme Patrimoine de l'Humanité, à Florence du 16 au 20 décembre 2007.
- Projets de coopération internationale pour le développement dans les domaines de la démocratie et le développement durable en Maroc et en Gambie, pendant ces dernières années.
Si vous voulez plus d'information vous pouvez consulter notre site web:
http://www.ugr.es/~javera/2-5-memoria.htm
Coopération:
- Coopération pour favoriser la convivence interculturelle avec la population d'origine, culture et langue Tamazigth, dans la région du Rif, la population d'origine et culture juïve et la population d'origine et culture éuropéenne.
- Coopération avec la Fédération Nationale Gambienne sur l'origine et la route de l'esclavage.
- Coopération avec des groupes de recherche de la culture et la langue guaraní, en le Paraguay.

Date de création: 1992
Budget: U.S.$22598
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Burkina Faso, Équateur, Jamaïque, Madagascar, Maroc, Uruguay, Venezuela (République bolivarienne du)

Objectifs:
Le Centre UNESCO de Saint Sébastien s’attache de promouvoir la diffusion des idéaux de l’UNESCO à travers de la éducation internationale et l’encouragement de recherches éducatives importantes pour l’Organisation, visant à assurer la viabilité du patrimoine culturel immatériel, y compris la transmission, essentiellement par l'éducation non formelle et à distance. L’élaboration des matériaux didactiques pour l’éducation en matière de droits de l’homme et la promotion des valeurs universelles et de l’éducation interculturelle, surtout, à travers du Cours à Distance pour la Formation d’Animateurs UNESCO. Les buts sont :
- Fournir les instruments de base orientés à améliorer la qualité de l'intervention des professionnels Animateurs UNESCO Experts en Développement dans les communautés.
- Promouvoir des espaces pour se préparer dans l'analyse des problèmes internationaux, contribuant ainsi à l'enrichissement de la diversité culturelle.
- Aider à prendre conscience des nouvelles caractéristiques mondiales, de la diversité des communautés humaines et de l'interdépendance des pays ainsi que des relations entre les cultures.
- Sensibiliser envers les causes et les conséquences des phénomènes sociopolitiques.
- Analyser des méthodes pour faire face aux défis humains tels que la survivance, le développement, la pauvreté, l'environnement et le patrimoine culturel.
- Concevoir des plans et des activités tendant à l'amélioration intégrale d'une qualité de la vie modeste et prospère des communautés humaines en prenant en considération les desseins et directrices de l'ONU et l'UNESCO.
- Favoriser la création d'un profil professionnel reconnu à niveau international.
Activités:
Les principaux activités et expérience du Centre UNESCO de Saint Sébastien en matière de sauvegarde du patrimoine culturel immatériel, sont la capacitacion et formation à travers du Cours d’Animateurs UNESCO. Ce cours poursuit :
La diffusion et transmision des objectifs de la Convention pour la sauvegarde du patrimoine culturel immatériel à travers de la formation en éducation internationale, droits de l’homme, éducation pour la paix, diversité culturelle, développement soutenable et la mise en oeuvre de programmes d’éducation de base non formelle conçus comme un moyen d’aider au développement des compétences nécessaires dans la vie quotidienne, contribuant ainsi à l’amélioration de la qualité de vie des populations. Le Centre UNESCO de Saint Sébastien travaille dans deux domaines prioritaires :
- Enseignement: Depuis 1993, le Centre organise le Cours à Distance pour la Formation d’Animateurs UNESCO (CDFAUN). A l’heure actuelle, le CDFAUN est implanté dans 75 pays, où plus de 1000 élèves reçoivent une formation de haut niveau et ce, exclusivement en accord avec les idéaux et les directives de l’UNESCO, à travers une éducation non formelle et à distance, aussi, pour la diffusion des objectifs de la Convention pour la sauvegarde du patrimoine immatériel. La première promotion d’Animateurs UNESCO est sortie du CDFAUN en 1995, au cours d’un acte qui s’est tenu au siège de l’UNESCO. En 2008 sortira la 14ª promotion.
- Recherche: L’une des finalités statutaires du Centre UNESCO de Saint Sébastien est la recherche scientifique. Une bibliothèque permet de disposer de ressources documentaires de première main sur des thèmes en rapport avec l’UNESCO. Les archives et les bases de données du Centre reçoivent des informations de dernière
heure provenant des endroits les plus divers du monde entier où opèrent des Animateurs UNESCO, engagés dans l’implantation et la diffusion des buts de l’UNESCO. Le Centre a publié de nombreux ouvrages de recherche sur l’UNESCO et a été invité comme rapporteur à des congrès nationaux et internationaux.
Principales activités récentes et reconnaissances
- 1994-2000: Le Centre UNESCO de Saint Sébastien signe 5 Contrats d'Honoraires avec la Secretariat de l'UNESCO
- 2004: Le Cours d’Animateurs UNESCO est appuyé par et 36 Etats Membres.
- 2006-2007 : Le Centre UNESCO de Saint Sébastien signe 7 Protocoles de Colaboration pour la diffussion des objectives du patrimoine culturel immatériel à travers du Cours d’Animateurs UNESCO avec les Commissions Nationales pour l’UNESCO de Equateur, Venezuela, Maroc, Burkina Faso, Jamaica, Uruguay et Madagascar.
- 2007 : Le Centre UNESCO de Saint Sébastien signe un Protocole de Colaboration avec le Bureau Internationale de l’Éducation de l’UNESCO à Genève pour la élaboration des matériaux didactiques pour l’éducation en matière de droits de l’homme et la promotion des valeurs universelles et de l’éducation interculturelle et des projects de
développement curriculaire.
Le Centre dispose d’un bureau ouvert au public et d’un personnel fixe et spécialisé dans l’enseignement international et la recherche scientifique. Il compte également sur la participation de collaborateurs dans le monde entier.
Coopération:
Le Centre UNESCO de Saint Sébastien maintient des contacts réguliers avec le Siège de l’UNESCO, avec les Délégations permanentes auprès de l’UNESCO, avec les commissions nationales pour l’UNESCO, et avec les bureaux et organismes dépendant de l’organisation et situés hors du Siège.
L'orientation et le contenu mondial des activités du Centre concordent avec les objectifs stratégiques de l'Organisation. C’est ainsi qu’en 1997, le Centre UNESCO de Saint Sébastien commence à réaliser une évaluation complète de son projet qui obtient le rang de thèse doctorale, afin d’identifier la tâche éducative de cet institut à l’égard des idéaux et des objectifs de l’UNESCO. Cette recherche a été publiée en 2003 sous le titre
La UNESCO en San Sebastián, après une évaluation académique universitaire qualifiée summa cum laude.
Grâce au Cours à Distance pour la Formation d’Animateurs UNESCO (CDFAUN), le Centre UNESCO de Saint Sébastien a obtenu l’élargissement de l’accès à l’éducation dans 75 pays, grâce à l’élaboration de stratégies globales et intégratrices en faveur des exclus. Ce qui s’est traduit par la mise en oeuvre de programmes d’éducation de base non formelle conçus comme un moyen d’aider au développement des compétences
nécessaires dans la vie quotidienne, contribuant ainsi à l’amélioration de la qualité de vie des populations.
Le Centre UNESCO de Saint Sébastien élabore des matériaux didactiques pour l’éducation en matière de droits de l’homme et la promotion des valeurs universelles et de l’éducation interculturelle par la mise en réseau de l'Association Mondiale des Professionnels Animateurs UNESCO (AMUPRAUN) et l’Organisation Ibéro-Américaine
des Associations UNESCO (ORIBAUN), composée d’Animateurs UNESCO diplômés auprès du CDFAUN, des écoles et la collaboration avec les associations d’enseignants et les organisations de jeunesse.
Depuis 1992, le Centre UNESCO de Saint Sébastien a signé cinq accords de coopération avec différentes Divisions de l’UNESCO dans le but d’améliorer la connaissance des valeurs universelles au moyen de méthodes éducatives non formelles grâce à des ateliers et des séminaires nationaux, régionaux et mondiaux.

Date de création: 2001
Domaine(s):

- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- Agriculture, culinary traditions

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Belgique

Objectifs:
Le Centre d'Histoire Agraire (Centrum Agrarische Geschiedenis - CAG) souhaite, avec toutes les personnes intéressées, étudier le passé de l'agriculture et de l'alimentation , le préserver et le rendre accessible au grand public, afin de donner à cet héritage la place qui lui revient dans la société et sa réelle signification actuelle. Il se veut un point d' appui indépendant pour les initiatives visant la préservation, la valorisation et l'accesibilité de l'héritage en matière d'agriculture, développement rural, préservation du paysage et alimentation.
Le Centre d'Histoire Agraire souhaite informer, éduquer et animer le public plus large possible, en se basant généralement sur l'actualité.
Activités:
Le Centre fonctionne comme un centre d' expertise dans ce domaine et regroupe des scientifiques des différentes disciplines (histoire, géographie historique, agronomie, sociologie, économie, ...)
Coopération:
The Centre for Agrarian History is being supported by the Catholic University of Leuven (Belgium), Cera, Boerenbond, VLAM and the Flemish Community.

Date de création: 1980
Budget: U.S.$900000
Domaine(s):

- social practices, rituals and festive events
- traditional craftsmanship
- traditional games

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Allemagne, Belgique, Danemark, Espagne, France, Italie, Pays-Bas, Portugal, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord

Objectifs:
The Centre for Sport Culture (CSC, formerly Vlaamse Volkssport Centrale) - a non profit organisation - was established for the study, promotion and safeguarding of traditional sports and games. The roots of the CSC lie in an extensive research programme (Katholieke Universtiteit Leuven) on the history and the current situation of traditional games in Flanders (the Dutch speaking part of Belgium), started by prof. R Renson in 1973. The unexpected richness and variety of traditional games lead to the foundation of the CSC in order to promote this (endangered) sporting heritage and to get people acquainted (again) with the traditional games.

The mission of the CSC states that the CSC must be a centre of expertise in safeguarding the intangible heritage of the traditional and modern movement culture in vivo and in situ via identification, documentation, research, protection, handing down, revitalizing … on a national and international level.
To achieve this objective the CSC took over, partially, the research from the university and developed a range of initiatives (publications, library & documentation centre, exhibitions, tourist routes, conferences, lending services, …).

Gradually the CSC broadened its scope to a European and even a worldwide scale. On a European level the CSC carried out a lot of demonstrations of traditional games abroad and invited traditional games practitioners from many countries to Belgium for demonstrations and exchanges. In line with these activities, the CSC was among the founding members of the European Traditional Sports and Games Association (2001). The activities worldwide concern mainly research, publications, the gathering of documentation and exchange of information.

From 2000 onwards, the CSC committed itself, together with Sportmuseum Vlaanderen (Sports Museum Flanders) to realise the Sportimonium-project, a museum about the sports history of Flanders in its national and international context. Especially as traditional games are concerned, both the tangible (artefacts) and intangible (loan service, games park –see further) aspect of the sporting heritage is taken into account.

Activités:
The Centre for Sport Culture (CSC) has launched a variety of initiatives for safeguarding the tangible and intangible heritage of traditional games and sports:

Research
- In collaboration with the Katholieke Universiteit Leuven, the CSC carries out research on traditional games (inventory, evolution, organisational structure, ..) and supervises, as co-promotor, papers and theses (bachelor and master degree). For enquiries the centre calls upon the traditional sports federations for collaboration.
- the CSC organized the ‘Second European Seminar on Traditional Games’ (Leuven, 1990) on behalf of the Council of Europe.
- the CSC organised a symposion (Leuven, 2004) to present and discuss the results of its research project on the evolution of traditional games in Flanders 1982-2002.

Publications
- CSC was the editor of a series of 8 publications on traditional games (history, specific language, rules, dissemination, social aspects, …), 1980-1988
- CSC is editor of the journal ‘Sportimonium’ (history of sport, traditional games), 1980–up to now
- Staff members contributed about one hundred articles to many (inter)national reviews and books, 1980–up to now.

Documentation centre and library (open to the general public)
- ca. 2000 books on traditional games (worldwide)
- a series of periodicals
- archives

Artefacts
The CSC has gathered hundreds of artefacts and thousands of audiovisual documents related to traditional games (playing equipment, garment, photographs, posters, songs, interviews with the practitioners, footage …). This collection has been handed over to the Sportimonium in 2000. In this museum one of the sections is entirely dedicated to traditional games worldwide.

Promotion
- a large travelling exhibition ‘Traditional games in Flanders’ has been set up in about 15 cities (1980-1990) and smaller travelling exhibitions are available for schools, cultural and sport centres. A travelling exhibition ‘Traditional games in Europe’ is also available,
- organizing demonstrations/festivals and initiations of traditional games (in close cooperation with the practitioners),
- the CSC manages within the Sportimonium-project a park of traditional games (since 2005). The action and interaction inherent in this sort of heritage cannot be ‘stowed’ in the museum depot nor can it be experienced in a static exhibition. Therefore the visitors can get acquainted with the skills of a variety of traditional games which are still practised (locally) in Flanders.
- in the same line the CSC runs a series of loan services all over the country for traditional games in order to provide people with the equipment for practising at festivals, family feasts, school and youth movement activities,
- the games equipment for the above mentioned loan service is produced, based on the authentic examples, in the CSC’s own workshop.The CSC provides assistance in building/restoring traditional sports infrastructure.
- the Sportimonium mainly focuses on school classes (10-14 year) to teach them about sports heritage. Another important target group are the students physical education/sports (bachelor and master degree). As the future teachers and sport administrators they are invited to the Sportimonium in order to sensitize them and to get them acquainted with traditional games. They are therefore able to hand this down to the next generations in schools or by supporting the practitioners of traditional games, the bearers of intangible heritage, on regional/municipal level.

Counselling and support
- supporting festivals organized by the traditional games players
- helping clubs, federation and their individual members in research matters
- counselling associations or federations for candidatures for the Belgian list of elements of intangible heritage
- participation in (governmental) assessment committees (cultural matters)
- collaboration with Unesco (project on traditional games 1990, platform for traditional games worldwide 2006-2009).

Personnel: manager (1), research/fieldworker (1), administrator (1), workshop (3), library (2).
The staff of the CSC has almost 30 years experience in safeguarding traditional games. The staff members (3) have university degrees and have followed in the course of years many courses related to the safeguarding of (intangible) heritage. The CSC is in close contact with other organisations in the country taking care of popular culture in order to exchange experience.
The same goes for engagement in the international network of the European Association for Traditional Sports and Games, of which the CSC has been among the pioneers. Due to these constant contacts, on the one hand with the practitioners of traditional games and at the other hand with professionals working in the fields of culture, sport and tourism the personnel of the CSC has acquainted its competences.
The composition of the supervising CSC-General Assembly – a mix of university professors (sports history, sports sociology, ethnography, literature, …), directors/chairmen of (traditional) sports organisations, museum collaborators, directors of cultural institutions … guarantees a high standard quality

Coopération:
The CSC has established over the years good contacts with many practitioners and their clubs and federations. The CSC has been instrumental in helping the clubs to get in contact with each other and to found (if appropriate) federations of their own. This resulted in 1988 in the foundation of a confederation for traditional games (Vlaamse Traditionele Sporten vzw, VlaS) with the CSC as one of the founding members. This confederation grew steadily from 500 to 12.000 members and acts now as an umbrella organisation for 23 types of traditional games.
The CSC is member of the board of directors of VlaS and vice versa, firstly in order to be well informed about each other activities and initiatives, secondly to collaborate where appropriate.
While constructing the traditional games park, there has been close cooperation with practitioners in testing and adapting the facilities in full respect with the games while using – if possible - modern materials. The latter being important to make the ‘old fashioned’ games a little more attractive to young(er) people.
One of the CSC objectives is to make the bearers of the intangible heritage, i.e. the players themselves, aware of the importance and richness of their activities. This must lead to an enhanced self-consciousness towards heritage in order to hand it down and to defend it.
Important for the CSC remains, furthermore, exchange and collaboration with other organisations experienced in the domain of popular culture and in safeguarding intangible heritage.

Date de création: 1993
Domaine(s):

- oral traditions and expressions
- performing arts
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- coordination des activites internationales dans le domaine de la presentation de la culture populaire traditionnelle et de [a sensibilisation du public

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Tchéquie

Objectifs:
L'objectif de la Section nationale tcheque du CIOFF est de developper une activite de
coordination concernant les questions de conception, de conseil et d'organisation, mais
egalement pour mettre en oeuvre les missions et les objectifs fondamentaux du CIOFF.
Son but est de promouvoir, d'elargir et de maintenir la forme traditionnelle de la culture
populaire immaterielle, notamment des activites artistiques, des coutumes et traditions.
Grace a un perfectionnement systematique des methodes, elle oeuvre pour
I'amelioration de la qualite artistique et logistique des festivals de folklore internationaux
et d'autres manifestations consacrees a la presentation du patrimoine immateriel en
Republique tcheque et a I'etranger. Elle cherche egalement a soutenir I'echange de
connaissances et d'experiences entre les organisations, associations et individus au
niveau national et international en contribuant ainsi au maintien d'une partie du
patrimoine immateriel.
Activités:
La section nationaie tcheque du CIOFF participe aux missions du CIOFF (= ONG
culturelle internationale en relations formelles de consultation avec I'UNESCO), - elle
participe de fayon active aux travaux du Secteur central europeen du CIOFF dans Ie but
de soutenir les relations entre les peuples, de prendre en consideration et de respecter
les traditions culturelles des peuples et des nationalites -, participe a la mise en oeuvre
de projets selon Ie plan d'activite du CIOFF et facilite I'echange direct d'ensembles
folkloriques qui participent aux festivais CIOFF, ia presentation d'ensembles etrangers
lors de leurs tournees en RT,- accorde une aide tous azimuts aux festivals de folklore
dans les premiers contacts avec des festivals ou des formations a I'etranger; assiste les
formations de folklore avant leur depart a!'etranger,- prepare des rapports, la
documentation et d'autres supports importants ayant une portee nationale,- vulgarise les
idees du CIOFF et informe ses membres des activites realisees dans d'autres pays,informe
tous les ans Ie Comite executif CIOFF de I'etat des lieux de ia culture
traditionnelle et populaire en RT, des dates des festivals internationaux, des
conferences, symposiums, colloques, expositions et d'autres evenements professionnels
et methodologiques ouverts ala participation des autres membres CIOFF,- participe a la
coordination des activites internationales de ses membres,- recommande des groupes
de folklore, des experts et des observateurs aux differents festivals et d'autres
manifestations CIOFF aI'etranger et- collabore avec d'autres organisations, institutions
et associations en RT et a I'etranger,- dans Ie cadre de son activite, elle oeuvre pour la
presentation et la diffusion des valeurs du patrimoine culturel immateriel et rassemble la
documentation afferente,- participe ala mise en oeuvre du programme "Depositaire de
la tradition de I'artisanat populaire, equivalent aux "Tresors humains vivants" de
L'UNESCO et - participe ala mise en oeuvre du plan de gestion du "Slovacko verbuiik tradition
vivante" ("slovacko verbuiik" a ete inscrit sur la Liste representative du
patrimoine culturel immateriel en 2008). L'adhesion a la section est ouverte a tous les
organismes, organisations, institutions, associations, festivals de folklore, personnes et
professionnels actifs dans Ie domaine de la culture traditionnelle et populaire en RT et
embrassant ies objectifs fondamentaux du CIOFF, ou a ceux qui manifestent I'interet
pour la culture traditionnelle et populaire de fayon constante et efficace. La qualite de
membre est obtenue par selection (i'entree d'un nouveau membre est conditionne par
I'accord de tous les organes de la section nationale) et peut etre ordinaire, associee et
honorifique. Sont membres de la section: a) festivals de folklore nationaux en RT, dotes
du statut CIOFF, b) organismes, organisations, institutions, formations folkloriques et
associations dont Ie but est la preservation et Ie developpement de la culture
traditionnelle et populaire, qui ont demande leur qualite de membre et qui demandent a
adherer selon les conditions prevues par la section nationale. Les membres associes
peuvent etre des organismes, organisations, institutions, associations generales ou
folkloriques, festivals folkloriques ne beneficiant pas du statu! CIOFF, formations
folkloriques, professionnels individuels et experts dans Ie domaine de la culture
traditionnelle et populaire qui demandent aadherer selon les conditions orevues dans les statuts. La qualite de membre honorifique peut etre accordee aux personnes identifiees et aux professionnels ayant des merites specifiques quant au maintien et la sauvegarde et du developpement de la culture populaire traditionnelle, sur proposition d'un membre ordinaire ou associe de la section. C'est l'Assemblee generale qui prend la decision.
Coopération:
La section nationale CIOFF regroupe les institutions tcheques de renom dans Ie
domaine du patrimoine immateriel: Institut national de la culture populaire, Straznice,
Institut de I'ethnologie de l'Academie des sciences de la RT, Prague, Ie Centre national
d'information et d'orientation pour la culture, Prague, Institut de I'ethnologie europeenne
de l'Universite Masaryk, Brno; Musee Valasske de plein air, Roznov pod Radhostem;
Musee de la Moravie du sud-est, Zlin; I'association folklorique de la RT, Prague. La Iiste
de tous les membres tcheques du CIOFF (festivals, institutions, ensembles, associations
et individus) figure a I'annexe au point 8.a. et I'un de ses objectifs et de continuer a
elargir cette base, sur un mode selectif. La Section nationale tcheque est egalement
representee au sein des organes internationaux du CIOFF. La section a ete fondee pres
I'lnstitut de la culture populaire aStraznice qui est I'organisateur d'un Festival folklorique
international de renom. Son secretariat continue a etre base pres de cet Institut. En
2005, la section nationale tcheque du CIOFF travaillait a la preparation de la
documentation de nomination de "Slovacko verbuiik" avant sa proclamation de Chef
d'oeuvre de patrimoine oral et immateriel de I'UNESCO. A I'heure actuelle, elle parlicipe
a la preparation d'autres nominations sur la Liste representative du patrimoine culturel
immateriel de I'humanite (Vesnicke masopustni obchuzky a masky : Tours et masques
de carnaval aHlinecko et Jizda kralu: Chevauchee des rois). Elle collabore a la mise en
oeuvre du projet Depositaire de la tradition de I'arlisanat populaire. Elle constitue Ie defi
ethique et professionnel permanent quant au niveau de la presentation de la culture
traditionnelle immaterielle lors des festivals de folklore en procedant aleur evaluation et
en choisissant avec attention ses membres ordinaires et associes.

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- other

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- presentation des resultats aux professionnels et au grand public

Pays principaux d'activité:

Tchéquie

Objectifs:
Societe ethnologique tcheque est une association professionnelle de haut niveau de
l'ethnologie tcheque. ns'agit d'un regroupement independant et benevole de
chercheurs, d'enseignants-chercheurs et de professionnels, d'etudiants en ethnologie et
d' adeptes de cette discipline travaillant dans des disciplines assimilees.
La mission fondamentale de la societe consiste, des sa creation, en la promotion du
developpement multifactoriel de I'ethnologie. Des les premieres annees de son
existence, cette societe etait it I'origine du musee ethnologique national, pendant de
longues annees, ses activites concentraient en elles la grande maiorite des
developpements ethnologiques sur Ie territoire actuel de la Republique tcheque. Elle
developpe ses activites actuelles dans Ie domaine de la documentation et de la
recherche systematique en matiere de formes historiques et actuelles d' expressions
imrnaterielles et materielles de la culture populaire traditionnelle dans I' espace central
europeen.
Fait partie integrante de I'activite de la societe nne presentation des connaissances
concernant Ie patrimoine culturel destinee aux specialistes et au grand public: par
I'intermediaire de periodiques et publications (Ia revue Narodopisny vestnik [Bulletin
ethnologique]; publications occasionnelles; livres), de sites Internet, de conferences et
de seminaires, de formations methodologiques destinees aux collaborateurs exterieurs
en regions (reseau de correspondants) etc.
Les riches archives de la Societe contiennent de nombreuses references aux differentes
expressions de la culture populaire en Republique tcheque, elles sont utilisees de
fayon systematique par des professionnels, mais egalement par des adeptes de la
revitalisation de certains phenomenes en regions. Les informations des archives de la
Societe ethnologique tcheque sont regulierement publiees.
Dans Ie domaine de la culture imrnaterielle, nne des composantes de la Societe
developpe nne activite particulierement intense: il s'agit de la Commission des us et
coutumes populaires qui organise tous les deux ans une conference particulierement
prisee sur des sujets choisis dans Ie domaine de la culture intelectuelle et sociale (tels
que: culte et elements; droit de coutume; phenomene du don; coutumes de groupes
socio-professionnels; verdure dans la culture populaire etc.).
La Societe participe de fayon active ala mise en ceuvre du document gouvememental:
Conception d'nne prise en charge plus efficace de la culture populaire traditionnelle.
Activités:
A l'heure actuelle, la Societe ethnologique tcheque developpe ses activites d'une
part par l'intermediaire de ses membres individuels: collaborateurs directs ou
emerites d'eminentes institutions specialises en Republique tcheque (musees
nationaux, regionaux et specialises, instituts de I'Academie des sciences de la RT,
universites), ou de membres collectifs (15 institutions: musees nationaux,
regionaux et specialises, instituts de l'Academie des sciences de la RT, universites,
antennes de l'Institut national du patrimoine); une activite apart est developpee par
les collaborateurs exterieurs qui appartiennent au groupe d'enqueteurs amateurs a
I' echelle regionale.
Ces demieres annees, la Societe developpe notamment, sur une base reguliere,
l'activite de publication: elle publie notamment la deuxieme revue ethnologique
tcheque la plus ancienne, asavoir Ie Bulletin ethnologique. Cette revue, dotee d'un
comite de relecture, est publiee par un conseil de redaction de composition
intemationale et SOUllet des etudes aussi bien que des contributions relatives au
domaine du patrimoine culture! immateriel (Ie contenu, y compris les abstracts en
anglais sont disponibles a !'adresse suivante:
http://www.narodopisnaspolecnost.czlvestnik08.php). A cote du Bulletin
ethnologique, la Societe publie occasionnellement des tires a part, qui sont dans
une large mesure consacres it la presentation des connaissances dans Ie domaine de
la culture immaterielle.
Les professionnels apprecient egalement beaucoup les recueils de documents issus
des conferences organisees par la Commission des us et coutumes populaires qui
developpe son activite dans Ie cadre de la Societe ethnologique tcheque. Ces textes
sont dedies, de fayon ciblee, aux themes relatifs au patrimoine culturel immateriel.
Au cours des annees precedentes, la Societe a realise plusieurs projets
subventionnes, dont Ie projet Documenlation de stereotypes dans Ie regime
journalier des femmes au XX" siixle qui a permis de decouvrir de nombreuses
informations precieuses.
La Societe compte parmi ses membres des chercheurs chevronnes qui realisent des
enquetes menees sur Ie terrain, mais egalement des personnalites qui participent a
l'evaluation des recherches de terrain et leur mise en valeur en tant qu' elements
precieux pouvant servir it la revitalisation ou au soutien apporte aux expressions
immaterielles du patrimoine culturel (textes, images et films). Par ailleurs, les
membres de la Societe participent egalement a I' elaboration de documents
conceptuels (tels que la Conception d'une prise en charge plus efficace de la
culture populaire traditionnelle) en vue de reunir les conditions pour
I'identification et Ie maintien d'expressions vivantes de la culture immaterielle sur
Ie territoire de la RT.

Coopération:
appliquees a son activite professionnelle sont les pre-requis essentiels pour une
bonne renommee de la Societe ethnologique tcheque parmi Ie grand public ainsi
qu'aupres des depositaire de la tradition vivante sur Ie territoire tcheque. Les
memhres de la Societe ne participent pas uniquement a la documentation et aux
recherches concernant ces phenomenes, mais egalement a leur preservation et a leur
transmission, par exemple sous forme de participation aux structures
organisationnelles de la Societe, a travers des consultations techniques, par Ie travail
redactionnel et d' autres fayons encore.
Une approche differenciee et Ie respect des traditions appliquees aux enquetes
menees sur Ie terrain sont egalement mis en ceuvre par la Societe vis-a-vis de ses
collaborateurs exterieurs, les «correspondants ». II s'agit d'arnateurs sans formation
particuliere qui travaillent dans les regions et qui se sont rapproches de la Societe en
raison de leur interet pour les expressions locales et regionales de la culture
traditionnelle. La Societe leur offre une gestion methodologique ainsi que la
possibilite de publier leurs contributions. Une collaboration rnutuellement
avantageuse entre la composante professionnelle et non professionnelle de la Societe
porte egalement ses fruits permettant d'approfondir la connaissance du contexte local
et de la tradition par la biais de ces collahorateurs exterieurs ce qui se repercute
ensuite sur la qualite et la quantite des connaissances recueillies, exploitables ensuite
pour les activites de recherche et de vulgarisation.

Date de création: 2002
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- other
- Folklore dancing, music and singing

Mesure de sauvegarde:

- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Cultural exchange

Pays principaux d'activité:

Bulgarie

Objectifs:
National section of CIOFF Bulgaria works for the safeguarding and dissemination of traditional culture. Through its activities the organization aims for the following main objectives:
- Development of the cultural exchange between the nations and popularization of the Bulgarian folklore in our country and abroad
- Co-operation in organizing international folklore festivals in our country and abroad
- support the activities of its members and those of non-governmental organizations, working in the areas of folklore and cultural heritage
- promote the intangible heritage from all over the world, through forms of expression such as dance, music, games, rituals, customs and other arts
- enrich the knowledge of the nations for the folklore wealth
- support and create conditions for active cultural exchange
- serve the cause of peace and non-violence through the implementation of the above objectives
- serve the objectives of UNESCO
Activités:
The enumerated in point 5 objectives of the organization are realized by:
- Placing invitations for participating in International Folklore Festivals to different Bulgarian folklore ensembles. The invitations are on CIOFF’s side or from other organizations;
- Investigation of possibilities for Bulgarian ensembles to visit countries preferred by them;
- Insurance of possibilities for mutual visiting of Bulgarian collectives and foreign groups;
- Regular organization of national reviews where the presentation and the artistic qualities of the ensembles from the country are evaluated. In the reviews participate more than 200 ensembles, the best of which are specified as “Representative ensembles of the National section of CIOFF”;
- Popularization of the Bulgarian folklore art by all legally permitted forms and resources;
- Providing of information about organized festivals of CIOFF, symposiums, conferences, seminars and other activities related with folklore and traditional arts;
- Formation of own informational data base concerning the professional and unprofessional folklore formations in Bulgaria;
- Realization of partnership, organizational and methodical co-operation to the Folklore festivals in Bulgaria. NS CIOFF Bulgaria organizes the International Folklore Festivals in Veliko Tarnovo and Sofia, co-operates in the organizing of the CIOFF festivals in Varna, Plovdiv, Dorkovo
- Maintenance of a web page on Internet
- Organization of annual meetings of the choreographers in Bulgaria. At those meetings the award “Golden yoke” is bestowed for entire contribution to the development of Bulgarian folklore and its popularization;
- Participating in the celebrations of national feast with different projects.
Coopération:
All our work is related with different folklore ensembles, choreographers, musicologists and people who make efforts to revive Bulgarian traditions and folklore which nowadays are put aside.
At the National reviews our jury of specialists meets more than 200 collectives, evaluates their qualities and their art. The Section communicates with those groups as to organize participation for them in different Festivals and Folklore events all over the world. We assist concerts and presentations of those ensembles.
For better communication with all those collectives from different parts in Bulgaria the section collaborates with 24 choreographers who are responsible for particular regions of the country. Meetings with those coordinators are organized frequently and any needed and important information is given to them.
More than 150 choreographers from the country take part in the annually organized seminars of the choreographers in Bulgaria. At those events are discussed different problems related with the folklore and its popularization.
In many of our activities we co-operate with the Ministry of Culture, with the Union of the cultural clubs in Bulgaria, and with different organizations working in the cultural domain. During the organization of the Festivals in Sofia and Veliko Tarnovo we co-operate with a lot of people who have experience in the folklore sphere in order to choose groups of a great quality fot the Festivals and to present them our traditions in best way.

Date de création: 1954
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
Le Comité Colbert est une association dite "loi 1901" fondée en 1954 à l'initiative de
Jean-Jacques Guerlain afin de préserver et valoriser "l'art de vivre à la Française" en
France et sur la scène internationale. Il rassemble 69 maisons de luxe selon un
processus de cooptation selon trois critères:
- L'excellence de ses savoir-faire et leur caractère identitaires,les inscrivant dans un
patrimoine culturel national;
- Sa créativité, seul garant de la pérennité de ces savoir-faire par leur inscription dans la
modernité
- Sa notoriété internationale qui permet au luxe français de faire la démonstration l'ooportunité que constitue la sauvegarde du Patrimoine Culturel Immatériel en matière
de succès écoomique d'un pays.
La richesse du Comité Colbert tient à la .diversité des métiers qu'il rassemble, monde. Le Comité Colbert peut se flatter de réunir dix catégories de métiers différents,
qui rassemblent plus de cent trente métiers et comptent 65 Meilleurs Ouvriers 8 maîtres d'art. Cette diversité fait de lui le représentant par excellence la culture de l'identité françaises, un acteur majeur en France de la valorisation et de la
transmission du patrimoine immatériel de savoir-faire et le symbole de l'art de à française tant vanté à travers le monde.
Les maisons joaillières de la Vendôme acte par le biais du Comité Colbert qui les réunit. L'adhésion à ce Comité, créer un réseau actif, dépit des concurrences économiques, à la promotion de leur métier et de Cet implication de ces maisons défense leur immatériel. Fondée sur le
libre consentement avec la possibilité de se désengager, le Comité entreprises libres dont les présidents votent décision constituées à cette fin. Les membres de la commission Métiers Humaines et celle des Culturelles Internationales réunissent très régulièrement et mettent en place des actions autour du immatériel.

Depuis sa création le comité Colbert a eu à coeur, dans l'esprit de la Convention de l'UNESCO de préserver, transmettre et valoriser les savoir-faire exceptionnels des artisans de ses maisons. conscient que ce patrimoine immatériel français ne devait pas disparaître il a mené et mène de nombreuses actions de sensibilisation auprès des jeunes afin d'assurer une relève pour ces métiers d'art.

Date de création: 1970
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- culinary traditions, traditional games

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
Par son action depuis 1970, le CIOFF vise les objectifs suivants:
- Promouvoir le patrimoine immatériel à travers les formes d'expression telles que la danse, la musique, les jeux, les rites, les coutumes, l'artisanat, les costumes et la cuisine traditionnelle,
- Servir les objectifs de l'UNESCO dans le domaine de la culture traditionnelle,
- Soutenir les activités de ses membres ainsi que celles des organisations nongouvernementales et toutes les autres institutions qui oeuvrent dans le domaine du patrimoine culturel,
- Oeuvrer, en réalisant ces objectifs au niveau international, pour une culture de la paix et de la non-violence.

Additional information:

Les objectifs de notre organisation sont contenus dans une charte relative à notre politique qui précise que le but est de promouvoir le patrimoine culturel immatériel en accord avec les recommandations de l'UNESCO
Objectifs généraux:
• promouvoir le patrimoine culturel immatériel dans les domaines suivants:
diffusion du patrimoine culturel immatériel dans ses formes d'expression comme:
• musique, danse, jeux, rites, coutumes et autres arts
Objectifs spécifiques
Les objectifs premiers du CIOFF sont:
a) la diffusion du patrimoine culturel immatériel par:
• l'encouragement à l'organisation d'événements
• l'encouragement à une plus large information au sujet du patrimoine culturel immatériel
• l'encouragement à l'utilisation des connaissances des folkloristes et des autres personnes ayant des compétences dans le domaine du patrimoine culturel immatériel
• le soutien aux services existants de production de matériaux éducatifs
• l'aide aux rencontres et aux échanges entre individus, groupes et institutions
b) la Coopération internationale par:
• la promotion du dialogue et du travail en réseaux entre les membres du CIOFF ;
• la coopération avec les associations internationales et régionales
• la coopération dans le domaine de la connaissance, la diffusion et la protection du patrimoine culturel immatériel;
• la coopération avec d'autres organisations pour établir un réseau international d'information
En complément le CIOFF apportera sa coopération dans les domaines suivants:
• Identification du patrimoine culturel immatériel
• Conservation du patrimoine culturel immatériel
• Préservation du patrimoine culturel immatériel
Activités:
Activités annuelles :
- plus de 300 festivals de folklore internationaux, dont 24 festivals d'enfants,
- échanges internationaux d'ensembles traditionnels représentant plus de 90.000 artistes du monde entier, .
-1500 expositions d'art et d'artisanat traditionnels,
- 5000 ateliers de danse, musique, chant et artis@nattraditionnels,
- séminaires, colloques et conférences,
- Folkloriada Mondiale du CIOFF (tous les 4 ans),
- Participation aux programmes de l'UNESCO,
- Publications: calendrier des manifestations, bulletin d'information, site, rapport annuel,
- Congrès Mondial et Assemblée Généra,l
- Collaboration avec les organismes nationaux, internationaux et autres organisations non-gouvernementales.
Rôle culturel: promotion du Patrimoine Culturel Immatériel, préservation des identités culturelles, transmission de l'héritage culturel aux enfants, collaboration culturelle internationale pour une culture de paix et de non-violence, création d'un répertoire des Folklore ...
Role educatif:
5000 ateliers organisés chaque année (2000 ateliers danses, 1000 ateliers musique, 2000 ateliers artisanat), chaque année ce sont plus de 320.000 pni':::ln't<:: LiJV.\.JVV jeulnes et 210.000 adultes qui bénéficient de ces ateliers de 9 d'Euros par an en billetterie, 17 millions d'Euros de financement international versé chaque année aux festivals folkloriques internationaux, 10,2 mililons d'Euros de contribution annuelle globale des parrainages et sponsors des festivals folkloriques internationaux...
Aspect touristique: 15 millions de spectateurs par an, 5,4 millions de personnes voyagent sur de longues distances, 3..000 groupes internationaux voyagent dans le monde entier (soit 90.000 artistes), voyages des représentants nationaux dans les conférences, séminaires, congrès...
Le mouvement des jeunes: en 2000, le GIOFF a commencé à faire participer des jeunes à son administration en créant un groupe de travail « jeunes ». Depuis, le nombre de jeunes participant aux travaux des différentes entités du CIOFF est en constante augmentation. Son but est le développement de programmes et d'activités
prenant en compte les besoins spécifiques des jeunes.. Depuis 2003, le Comité de Coordination Jeunes en tant que structure permanente a remplacé le groupe de travail.

Additional information

Par ses structures composées d'un Bureau exécutif, un conseil de 15 membres des commissions s'occupant de l'aspect légal, culturel et des festivals des comités de travail couvrant les activités du travail avec les enfants, d'éducation et enfin un groupe de travail sur l'évènement phare de notre organisation: les Folkloriada, le
CIOFF® rassemble les conditions pour être:
UN RESEAU DE DIFFUSION:
Grâce à un réseau de 250 festivals répartis dans les cinq continents, le CIOFF® contribue à une diffusion du patrimoine culturel immatériel dans plus de 90 pays.
Conformément au guide d'organisation établi, le respect des différences et des droits humains sont spécialement mis en valeur.
L'encouragement à l'organisation de tels évènements a fait l'objet d'une promotion particulière par l'établissement d'un calendrier annuel d'informations sur ces festivals.
UN RESEAU DE COMPETENCES:
L'organisation pyramidale du CIOFF® permet de réunir diverses catégories de membres. Tant les organisations de festivals que les ensembles de folklore et les instituts s'occupant de patrimoine culturel immatériel réunissent les compétences pour mener à bien des actions et des recherches dans les domaines de l'identification, la conservation et la préservation du patrimoine culturel immatériel.
UN RESEAU DE COOPERATION INTERNATIONALE:
En se basant sur les principes de : la valeur du patrimoine culturel, l'égalité entre les patrimoines, la compréhension entre les peuples et le respect du patrimoine, le CIOFF® est devenu une plate forme d'échange.
Il se fait le relais des programmes initiés para l'UNESCO et les Nations Unies. Par ce réseau de coopération, il est à même de travailler et de collaborer avec des ONG actives tant sur le plan du patrimoine culturel immatériel que de la diversité culturelle. Il diffuse les slogans et les actions dans le domaine de la culture de paix et l'action
pour les peuples autochtones auprès de l'audience des festivals et des sections nations qui réunissent des millions de personnes.

Additional information:

Les sections nationales du CIOFF® doivent être démocratiques, ouvertes et représentatives. Par ce fait les membres constituant une section nationale regroupent les associations et les institutions qui oeuvrent au niveau national pour le patrimoine culturel immatériel.

Nous noterons plus spécialement quelques actions qui ont été menées :

En Argentine : "la Banco de Memoria" :
Le but de ce programme étant d'établir un système de banque d'information qui permet de préserver, de conserver, d'enregistrer et de mettre à disposition du public la documentation sur le patrimoine culturel vivant du pays.

Au Paraguay : " Recherche sur le peuple Guarani"
La Section nationale du Paraguay par M. Mario Garcia Siani mène des enquêtes et des recherches pour sauvegarder et promouvoir le patrimoine culturel immatériel de cette minorité

En Suisse : "Répertoire des porteurs de traditions"

La Section nationale suisse a mis sur pied un répertoire afin de sauvegarder non seulement les traditions mais également les porteurs de ces traditions.

Ces quelques exemples montrent la diversité des travaux et des actions de coopération menées avec les communautés pratiquant le patrimoine culturel immatériel. Les 90 membres du CIOFF® récoltent une masse d'informations qui sont échangées entre les membres au niveau international.
Coopération:
Le CIOFF s'est impliqué massivement sur la préparation de la recommandation sur la sauvegarde de la culture traditionnelle et populaire, son évaluation, et plus récemment sur l'élaboration et la mise en oeuvre de la Convention pour la sauvegarde du Patrimoine Culturel Immatériel.
Présence du GIOFF à toutes les réunions du comité et Assemblée Générale UNESCO.
Implication de plusieurs de ses sections nationales au sein de leur Commission Nationale UNESCO.
De même, ,le CIOFF s'implique dans le cadre de la Convention pour la Diversité des Expressions Culturelles en participant comme observateur aux réunions du Comité et Assemblée Générale.
Le CIOFF s'est vu attribuer des Programmes de Participation en direction du Dialogue Interculturel : "La Route des Esclaves" : Afrique, Caraïbes et t\mérique Latine et en direction des jeunes (jeux traditionnels).
Le CIOFF apporte sa contribution!ors des consultations du Directeur Général.
Membre du Comité de Liaison des ONG, nous avons participé à toutes les conférences internationales des ONG.
CIOFF est également expert auprès du programme « Creative Cities Network».

Additional information

Le CIOFF®, ONG opérationnelle réalise à travers des activités les objectifs énoncés et par ce fait initie des coopérations et répond à des demandes de mise en commun des actions avec diverses institutions tant nationales qu'internationales:
SON RESEAU DE DIFFUSION:
L'organisation d'évènements, festivals, conférences et forum contribuent à une plus large information sur l'héritage culturel immatériel et amène le CIOFF® à faire appel aux connaissances des folkloristes et institutions qui sont membres des réseaux suivants:
• Réseau des sections nationales
• Réseau des festivals
• Réseau des ensembles folkloriques
• Réseau des relations culturelles
SON RESEAU DE COMPETENCES:
A l'occasion de chaque Congrès mondial le CIOFF® réalise depuis de nombres années une conférence culturelle et invite des institutions ou d'autres ONG à présenter leurs réflexions sur le sujet proposé. Durant ces dernières années le CIOFF® a fait appel aux personnes représentant les partenaires suivants:
2003 : La culture traditionnelle un moyen de Communication
M. Serge Monnier - Philosophe, Puy en Velay
M. Diégo Gradis - Tradition pour demain
2004 : La Convention pour la sauvegarde du patrimoine culturel immatériel
M. Gerard Cosane - l'Eco Musée idéal
M. John Gall
2005 : La sauvegarde de la culture traditionnelle des peuples indigènes
Dr Zirousile Fante - Centre for San people in Pretoria
M. Mario Garcia Sani - Institut pour le Peuple Guarani
2006 : De tradition à création
Mrs. Tsenka Ivanova and Dr. Svetlozar Vlaykov - Intern.Centre for Bulgarian Studies
2007 Le dialogue interculturel au sein du CIOFF®
Olga Najera-Ramirez - University of California Santa Cruz, CA
Miguel Velez Arceo - University of Veracruzana Mexico
2008 : Le CIOFF à la porte de l'Orient
Prof. Fikret Degerli - Folklore Conservatory of University of Istanbul
M. Ali Cevaz - Researcher at University of Istanbul
SON RESEAU DE COOPERATION INTERNATIONALE:
Le CIOFF® soit par des accords de coopération soit par le statut de relations formelles de consultation auprès de l'UNESCO entretien des relations continues ou réalise des travaux de coopération avec les institutions suivantes:
• Comité de liaison des ONG à l'UNESCO
• CIM Comité international de la Musique
• 10V - International Organisation of Folk Art
• Tradition pour demain
• Isca - International Sport and Culture Association
• ICTM - International Council for traditional music

additional information2:

Le CIOFF®, ONG opérationnelle initie des coopérations et répond à des demandes de mise en commun des actions avec diverses institutions tant nationales qu'internationales:

SON RESEAU DE DIFFUSION :
A travers ses activités, le CIOFF® fait appel et collabore avec :
•Réseau des sections nationales – 90 pays
•Réseau des festivals – 250 festivals
•Réseau des ensembles folkloriques – 3500 groupes
•Réseau des relations culturelles

SON RESEAU DE COMPETENCES : Le CIOFF® réalise chaque année une conférence culturelle en collaboration avec des institutions suivant les thèmes choisis :

2003 : Conférence : La culture traditionnelle un moyen de Communication
M. Serge Monnier Philosophe, Puly en Velay
M. Diégo Gradis ONG Tradition pour demain
2004 : Conférence : La Convention pour la sauvegarde du patrimoine culturel immatériel
M. Gerard Cosane l'Eco Musée idéal
M. John Gall
2005 : Conférence : La sauvegarde de la culture traditionnelle des peuples indigènes
Dr Zirousile Fante Centre for San people in Pretoria
M. Mario Garcia Sani Institut pour le Peuple Guarani
2006 : Conférence : De tradition à création
Mrs. Tsenka Ivanova and Dr. Svetlozar Vlaykov – Intern.Centre for Bulgarian Studies
2007 Conférence : Le dialogue interculturel au sein du CIOFF®
Olga Nájera-Ramirez University of California Santa Cruz, CA
Miguel Velez Arceo University of Veracruzana Mexico
2008 : Conférence : Le CIOFF à la porte de l'Orient
Prof. Fikret Degerli Folklore Conservatory of University of Istanbul
M. Ali Cevaz Researcher at University of Istanbul

SON RESEAU DE COOPERATION INTERNATIONALE :
•Comité de liaison des ONG à l'UNESCO
•CIM Comité international de la Musique
•IOV – International Organisation of Folk Art
•ONG Tradition pour demain
•Isca – International Sport and Culture Association
•ICTM – International Council for traditional music

Additional information 3:

Réseau des festivals :
Plus de 250 festivals de Folklore Internationaux et nationaux constituent le réseau CIOFF® des festivals. Par le biais de ces rencontres, le CIOFF® affecte la vie sociale des gens et des communautés de par le monde, en encourageant la fraternité, le respect mutuel et la paix entre les peuples. 15 millions d'artistes, de bénévoles et de spectateurs répartis dans le monde entier, participent chaque années aux activités des festivals.
Dans le monde entier, plus de 300 communautés locales s'investissent pour aider à organiser et gérer les festivals CIOFF®.
Au cours de ces festivals des ateliers de danse, de musique et d'artisanat sont organisés afin de transmettre à un cercle plus large de personnes les valeurs et les savoirs du patrimoine culturel immatériel.
Les festivals invitent et font la promotion des peuples minoritaires et autochtones. Cette année 2010 par exemple, une tournée européenne de trois mois a été organisée pour un ensemble de la minorité Peuhl du Niger.
Réseau des ensembles folkloriques :
3000 groupes internationaux de danse et de musique folkloriques s'activent au sein du CIOFF®.
Leurs rôles sont divers :
• éducation et transmission de la culture traditionnelle aux jeunes et aux enfants à
travers une activité artistique
• promotion et diffusion du patrimoine culturel immatériel dans les festivals de
folklore
• mise en application des programmes pour la paix et la non-violence à travers
leurs activités d'artistes
Exemples d'activités :
Revitalisation des jeux traditionnels :
Programme de participation de l'UNESCO organisé en Amérique latine dans les écoles et les cours para-scolaires et en Europe dans les festivals sous la forme d'échange entre les divers pays invités.
De l'artisanat à la Scène :
Coopération avec les Communautés de ""Tschäggätä" porteurs de masques de carnaval du Loetschental - Valais - Suisse : une collaboration entre la Commission culturelle du CIOFF®,les porteurs de masques, les artisans sculptant les masques et les danseurs du groupe Zachéos pour la transposition scéniques.
Séminaire bisannuel de danses traditionnelles :
Au FIFO - Festival International Folklorique d'Octodure à Martigny, diffusion, promotion et transmission du patrimoine culturel immatériel des danseurs invités aux participants du séminaires.

Date de création: 1993
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Rôle de regroupement national et rôle conseil auprès du gouvernement.

Pays principaux d'activité:

Canada

Objectifs:
Mission:
Le Conseil québécois du patrimoine vivant a pour mission de voir à la sauvegarde, à la promotion et à la transmission du patrimoine vivant (ou patrimoine culturel immatériel) de la collectivité. Il vise à regrouper et à représenter les personnes et les organismes préoccupés par la préservation, la recherche et la mise en valeur du patrimoine vivant et à favoriser l’appropriation de ce riche héritage par la communauté.

Objectifs:
• Regrouper les personnes et les organismes engagés dans la préservation, la recherche et la mise en valeur du patrimoine vivant;
• Favoriser la représentativité des différentes régions, cultures, disciplines et secteurs d’interventions au sein du Conseil québécois du patrimoine vivant;
• Promouvoir la richesse et la diversité des valeurs humaines, culturelles, artistiques, sociales et économiques du patrimoine vivant à l’échelle locale, nationale et internationale;
• Encourager un processus de développement du patrimoine vivant du Québec en suscitant des activités de sauvegarde, de conservation, de documentation, de recherche, d’information, de concertation, de formation, d’appropriation, de diffusion, de mise en valeur et de transmission;
• Représenter et défendre les intérêts des personnes et des organismes dans la sauvegarde, la préservation et la mise en valeur du patrimoine vivant au Québec.
Activités:
Le Conseil québécois du patrimoine vivant (CQPV) a récemment organisé le colloque international « Les mesures de soutien au patrimoine immatériel : gouvernements, institutions et municipalités », qui s'est tenu dans la ville de Québec du 14 au 17 avril 2011, avec le soutien du secteur de la Culture de l’UNESCO. L'événement s'est déroulé sous la présidence d'honneur de Madame Christine St-Pierre, ministre de la Culture du Québec, et Monsieur Koïchiro Matsuura, ancien Directeur général de l'UNESCO, y agissait en qualité de conférencier d'honneur. Mme Cécile Duvelle était également présente comme conférencière invitée.
Le colloque a réuni divers acteurs et décideurs dans le domaine du patrimoine culturel immatériel, avec l’objectif de favoriser l’échange d’expertise internationale. Il s’agissait pour les participants de s’inspirer des meilleures pratiques en la matière et d’évaluer en quoi l’expérience de certains États ou de certaines municipalités pourrait être applicable ailleurs. Il s’agissait également de s’inspirer de cas régionaux concrets pour réfléchir à l’ensemble du processus de promotion et de mise en valeur des arts et pratiques culturelles de tradition orale. Des responsables gouvernementaux, des représentants d’association et des chercheurs des quatre coins du globe ont été conviés à cette rencontre.
Depuis l’entrée en vigueur de la Convention pour la sauvegarde du patrimoine culturel immatériel à l’UNESCO, plusieurs expériences se sont déroulées à travers le monde à dessein de favoriser le développement du patrimoine vivant. Diverses initiatives se sont vues renforcées grâce entre autres à du soutien gouvernemental, institutionnel ou municipal. Ce soutien a pris plusieurs formes selon les pays : lois sur le patrimoine immatériel, stratégies de développement, programmes de soutien, reconnaissance par des prix ou par des statuts officiels, cursus pédagogiques nationaux, collaborations municipales ou régionales avec des associations, création d’institutions administratives, de diffusion ou éducatives, réalisation d’inventaires ou de collectes ethnologiques, etc. Parallèlement à ces actions nationales, l’UNESCO a mis en place certaines mesures afin de concourir à la sauvegarde de certains traits du patrimoine immatériel mondial, notamment par sa Liste représentative et sa Liste de sauvegarde urgente. L’événement a été l’occasion de partager ces expériences.
Au Québec (Canada), la ministre de la Culture a déposé en février 2010 le projet de Loi sur le patrimoine culturel devant l’Assemblée nationale, qui s’inspire de la Convention pour la sauvegarde du patrimoine culturel immatériel. Par cette loi, le gouvernement du Québec entend désigner officiellement certains éléments du patrimoine immatériel national et s’engagera à soutenir ce patrimoine spécifique transmis de génération en génération. Les municipalités se verront également confier le pouvoir d’octroyer un statut de reconnaissance à des éléments du patrimoine immatériel local. À titre de regroupement national en patrimoine immatériel, le Conseil québécois du patrimoine vivant incarnera un interlocuteur privilégié entre les forces vives du milieu culturel et les diverses instances élues.
Le colloque international sur « Les mesures de soutien au patrimoine immatériel » a été l’occasion de conférences et de tables-rondes à la fois inspirantes et instructives. Des conférenciers de renom en provenance d’une quinzaine de pays ont pris part à l’événement. Les actes du colloque seront disponibles dès cet automne.
Le Conseil québécois du patrimoine vivant a également rédigé en 2010 un mémoire pour l'Assemblée nationale du Québec intitulé "Le patrimoine immatériel dans la législation québécoise" (voir p.j.). Il a pris part par la suite à la consultation en commission parlementaire sur le projet de loi 82 - Loi sur le patrimoine culturel.
Le CQPV dispense de plus des formations professionnelles relatives aux arts traditionnels. De concert avec Emploi Québec et le Conseil québécois des ressources humaines en culture (CQRHC), il organise des formations annuelles en danse et en musique traditionnelles, qui s'adressent à des professionnels du secteur, dont des enseignants et des formateurs, qui souhaitent se perfectionner dans leur art ainsi que dans la pédagogie propre à la transmission orale. Des cahiers de stage sont ensuite produits pour les participants.
Une "Charte des compétences du médiateur du patrimoine vivant" a été élaborée en partenariat avec le CQRHC et rendue publique en 2010.
Les activités de regroupement du CQPV et de porte-parole au niveau national en patrimoine immatériel avaient conduit par ailleurs à la "Déclaration québécoise du patrimoine vivant" en 2008.

www.patrimoine-immateriel.qc.ca
Voir annexe point 8.a pour davantage d'information sur le personnel et les membres du conseil d'administration.
Coopération:
Le Conseil québécois du patrimoine vivant regroupe des individus et des organismes voués à la sauvegarde du patrimoine immatériel. Il coopère dans un esprit de respect mutuel avec les instances intéressées à cette sauvegarde, au niveau local, provincial, fédéral et international. Il tend à servir et représenter ses membres en leur offrant conseils, formations professionnelles, consultations, lieux de prise de parole, informations & promotion sous forme de bulletin web et événements des plus inclusifs. En plus de ses membres et des administrateurs au conseil d'administration, plusieurs partenaires sont associés au Conseil dans la mise en marche de ces activités. Parmi eux, on retrouve notamment: la Société pour la promotion de la danse traditionnelle au Québec, Danse traditionnelle Québec, l'Observatoire de la culture de l'Institut de la Statistique du Québec, le Conseil québécois des ressources humaines en culture, Emploi Québec, le ministère de la Culture du Québec, le ministère des Relations internationales du Québec, la Commission canadienne pour l'UNESCO, le Secteur de la Culture de l'UNESCO, l'Organisation des États américains et la Ville de Québec. Le Conseil québécois du patrimoine vivant est également à l'origine de la création du Regroupement du conte au Québec.

Date de création: 1999
Budget: U.S.$250000
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- sistemas alimentarios, ecogastronomia, alimentación y arte, ciencias de la alimentación

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- Creacion de redes regionales e internacionales para el rescate de las cocinas indígenas

Pays principaux d'activité:

Argentine, Bolivie (État plurinational de), Brésil, Chili, Colombie, Équateur, Mexique, Pérou, Venezuela (République bolivarienne du)

Objectifs:
Faciliter la sauvegarde des racines identitaires, des connaissances et des savoirs traditionnels autour d´une gastronomie millénaire appuyée sur une riche biodiversité dont la continuité historique peut être mise en péril par la mondialisation, la dégradation écologique et les transformations sociales portant atteinte à ces modèles culturels et agricoles.
Le Conservatoire suit aussi de près les expressions novatrices respectueuses du tronc culinaire commun qui assurent la continuité d´une gastronomie à forte identité. A cet effet, il stimule la recherche académique et travaille avec les structures d´enseignement dans la formulation des programmes pédagogiques recouvrant les disciplines liées aux systèmes alimentaires et aux cuisines traditionnelles.
Activités:
Identification des communautés, groupes et praticiens des métiers liés aux cultures alimentaires et gastronomiques autochtones traditionnelles. Organisation des Rencontres et Séminaires des spécialistes. Recherche académique et enseignement. Assistance technique aux Administrations. Projets pilotes. Promotion et diffusion des informations relatives au Patrimoine Gastronomique traditionnel, y compris site web en construction.
Coopération:
Identification et rencontres des cuisinières indigènes, des producteurs agricoles autochtones, des artisans traditionnels liés aux arts de la table, etc. Notre travail et collaboration avec la communauté est bien documenté avec le projet de récuperation de la cuisine indigène de Michoacán depuis 2004. Ce projet se développe en association avec les femmes et a pour but de préserver les traditions culinaires dans toute la région.
Les actions principales de ce projet, au-delà des importantes manifestations gastronomiques où elles transmettent leur savoir à de nombreuses professionnelles de la cuisine provenant de tout le pays et de l'étranger, consistent en l'organisation d'ateliers de formation dans le domaine de la manipulation hygienique des aliments et d'autres connaissances pour la gestion de leurs petites entreprises d'alimentation. Ces
activités se réalisent grâce à l'initiative des femmes cuisinières de l'Etat de Michoacán.

Date de création: 2002
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- social communication; community education; rural micro enterprise promotion

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- promoting culture for employment and growth; using culture for innovating new goods and services

Pays principaux d'activité:

Inde

Date de création: 1999
Domaine(s):

- oral traditions and expressions
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- revitalization
- Dissemination / Transmission

Pays principaux d'activité:

Bangladesh, Bhoutan, Maldives

Objectifs:
The Craft Revival Trust (CRT), established in 1999 is a registered non-profit organisation
which works with craft and craftspersons. Craft Revival Trust is endeavoring to build an
information and knowledge infrastructure for the craft sector in South and South-East
Asia. In Craft Revival Trust’s experience. the exchange of information and the
subsequent interaction often carries within it the solutions to many of the challenges that
the crafts sector faces. We believe that free and open access to information is the core
that empowers and strengthens individuals and societies and leads to development.
It is our belief that knowledge and access to knowledge forms the core of growth
societies. one of our key goals is to support endangered cultural, historical and artistic
resources that form the fundamentals of those who are increasingly being marginalized
within the established modern framework.
The objectives of the Craft Revival Trust are
• To research and document knowledge and skills of oral craft traditions and craft
communities that have been transmitted from generation to generation
• To safeguard by creating a knowledge bank
• To create a network of crafts and craftspersons
• To promote respect for craft creativity, craft communities and the hand skills.
• To create a rights based platform for advocacy for the craftspersons.
• To create programs that facilitate and generate interest in the crafts by the next
generation
Activités:
enclosed
Coopération:
• Weavers of the famed Benaras brocades are facing enormous threats as their
traditional products are copied and faked and sold thereby deriving traditional
craftspersons of their livelihood and creating immense hardships. A movement,
spearheaded by CRT has been initiated to consider what response might be possible for
the future of craft communities and their values.
• Through our various engagements with persons and organizations we realized
that the concerns in the traditional craft and other disappearing and endangered
traditions extends beyond artisans to all communities involved with traditional livelihoods.
Recognizing this, we have worked with wildlife conservationist Bahar Dutt, winner of the
Green Oscar, in the rehabilitation of the Snake charmers of India whose occupation has
been outlawed by the provisions of the Wildlife (Protection) Act, 1972. It is an attempt to
transfer their existing knowledge and skills to useful and sustainable methods of earning
a living CRT worked on livelihood rehabilitation program with the Jogi Nath Snake
Charmer community. The one year project culminated in a concert with a 100 snake
charmers. The Chief Guest was the Chief Minister of Delhi. Since then the snake
charmers have received many offers to play at musical events and festivals, giving them
a reasonable livelihood. 2006-2007
• We continue with our ongoing, major long term audience engagement program of
dialogue, debate and discussion that explores issues of cultural diversity, identity and
sustainable livelihoods in collaboration with India International Center.
Titled Putting Ideas First This interactive initiative has sought to encourage debate,
exchange of information and an airing of ideas and issues that exercise us. 2005
onwards
Hands On Craft Revival Trust, over the last few years had regular workshops at large
public venues and in schools where we trained young students to respect the hand
crafts. The crafts taught have included Natural Dying; Recycling and making paper from
waste; Tie dying; Sanjhi paper cutting and jewellery making. Since 1999.
• As a member of the Tuesday Collective have interacted with the Planning
Commission and the Prime Ministers Office on issues related to weavers and
craftspersons. Since 2006

Date de création: 1997
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Governance system, Food ways and Biodiversity protocols

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Integration, incorporation and exposition

Pays principaux d'activité:

Kenya

Objectifs:
Cultural Initiatives for Biodiversity Conservation (CIBC) aim at linking culture and biodiversity conservation for sustainable development. This is carried out by identifying, safeguarding and promoting viable indigenous cultural elements that impact on the biodiversity for appropriate adaption and incorporation in mainstream development initiatives for the benefit of the local, national and the global society.

CIBC seeks to embrace those intrinsic values as a means to safeguard the intangible cultural heritage of the African society that are instrumental and the backbone to the peoples' ways of life worldwide.

Social inquiry on the various aspects of the African culture, will extract relevant elements that may be useful in guiding Africa and the world. Then these values would be packaged by way of inventory, film, oral traditions, songs, video and other methods, including live presentations with the view of disseminating them at the local, national and international fora for the enrichment of humanity.

The documentation of important cultural elements will facilitate development of inventories and cultural spaces that are focal points for learning and transmission of culture from generation to generation enshrined in the practices, expressions and traditions that guaranteed the sustenance of peace and dialogue among communities.

The efforts of CIBC are purposed to tap into the rich African cultural systems with the view of safeguarding the inherent elements that would contribute to the construction of peace and creation of solidarity and cohesiveness amongst communities while promoting compatible human rights principles and pillars of social development.

CIBC goal is to facilitate the preservation of viable cultural tenets that are essential for sustainable human development while promoting human creativity, cultural diversity and biodiversity conservation that will benefit Africa and the global community. Safeguarding of intangible cultural heritage and the values anchored in them will be integrated and simulated into the global community.

CIBC is founded on the principle of 'Africulture for biodiversity'. As a home-grown initiative from a culture based philosophy and contribute towards the safeguarding of the intangible cultural heritage of humanity from the African culture-rich societies for the benefit of the local, the national and the international society.
Activités:
#1 The CIBC fraternity has the appropriate orientation and has consistently been involved in the traditional ceremonies of the Maasai peoples in partnership with designated local NGOs in Tanzania, to ensure that ceremonial sites used for the IIkisonko Maasal Rites, which traverse the national borders of Kenya and Tanzania, are preserved for advancement of important cultural ceremonies of the Maasai. These spaces have been used for over 100years for these ceremonies but are currently endangered.

#2 The CIBC has for a long time been involved in the advocacy of the Maasai Moran's rights to preserve their traditional'moran plaited hairdo'. Today, this particular Maasai Moran's Cultural Practice has not only been maintained but it is widely respected and promoted as a unique cultural attribute at the local, national and international levels.

#3 The CIBC in partnership with the local community advocated against the forceful subdivision of the group ranches within the Mara Reserves and Amboseli geographical area by private developers. The Maasai group ranches were necessary to maintain the traditional pastoralism which in essence is the very survival of the Maasai Pastoralists. This initiative succeeded to the extent that the Maasai Cultural pastoralism has since been adopted and dubbed as the 'grazing bank model'. Indeed, Groups of landowners from the Malpai Borderland, USA, have frequently visited the project to learn from this 'grazing bank model' of culturally sustainable best practice in pastoralism.

#4 The CIBC has worked with communities and social groups to ensure that the Maasai traditional cultural rites such as Enkipata, Eunoto and Olgesherr are carried out by the Maasai Community without interference and infiltration from any influential forces. The ceremonies, however, are currently in dire need of revitalization to be able to realise the full potential of their viability.

#5 The CIBC has worked with Ms. Nancy Kireu on preparation of the documentary on 'Milking the Rhino' for the promotion of community culture and their commitment to enhance conservation in the Laikipia 'i1ngwesi.The documentary promotes culture and conservation as well as community involvement in the use of cultural systems to improve conservation of wildlife.

#6 The CIBC is involved in promotion of enterprise and culture through establishment of Maasai Manyatta (Maasai Homesteads) to benefit from tourism while institutionalizing them to preserve viable cultural elements of the community and share with the global society.

#7 The CIBC was also involved in the study on 'ethno-veterinary medicine' of the Maasai community as part of consultancy for Nairobi University.

The personnel and executive members of CIBC include:

1. Mr.Paul Ntiati - MA Rural Social Development - Founder Cl BC. Has been community educator on community organization

2. Or. Hamisi Seif Mutinda (Ph.D) An educator and ecologist / geo-politics on regional landscape

3. Joseph Solonka is a champion in the preservation of the intangible cultural heritage and its element of the Maasai cultural traditiions .......

4. Keriako Tobiko is one of the founders of CIBC. He is an advocate and currently the Director of Public Prosecution, a champion on the group ranches management practices, preservation of the pastoralism lifestyles and its subdivision system and effect on the lifestyle of the pastoralism.

5. Nancy Kireu, an advocate of women empowerment and integration in the decision process and valuing their role in reviltalizing the traditional cultures of the African society

6. Solomon Kotoke is an elder and traditional leader with the authority on information and knowledge and preservation of Maasai Cultural element of Enkipaata, Eunoto and Olngesherr
Coopération:
From efforts of CIBC, the moran network has been established to sustain the respect of the cultural elements essential for community organization and development and preserving those cultural elements for posterity. Over more 3,000 morans from 5 different manyattas were involved. The moran through the faciltiation of CIBC and other partners formed a registered organization known as 'Moran Conservation and Development Network. All the Moran leaders 'i1aguanak' were in the advisory committee to ensure that the elements that are essential to the safeguard of moranism are sustained. An educational tour for 12 moran leaders to Tanzania was faciltated by CIBC and other partners as a cultural exchange initiative between the Maasai Moran leaders (kenya) and those of Tanzania.

CIBC has also works with partners in Tanzania to ensure that the physical site for the Maasai rites and devine places are safeguarded to be used by future generations. Some of these sites are used for performing the Maasai transitonal rites of 'Enkipaata', 'Eunoto' and 'Olngesherr'. These sites are under threat of being grabbed by politically influential persons. The network with partners in Tanzania has continued to advocate against these attempts thus slowing the impending danger. It is upon this premise that CIBC seeks support from UNESCO and other partners to preserve these elements. CIBC faciltated the Moran Network Leaders and ilaguanak from Kenya by processing permit, tranvelling documents and transport and linking with the spiritual leaders in Tanzania that the rites are performed in accordance to the traditional passage without interference.

Date de création: 1972
Budget: U.S.$876000
Domaine(s):

- oral traditions and expressions
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement

Pays principaux d'activité:

France

Objectifs:
Collecter, sauvegarder, transmettre le patrimoine culturel oral de la Bretagne historique. Aider et coordonner les groupements culturels et associations qui oeuvrent dans le même but.

Activités:
1-COLLECTER:
Le contenu s'est d'abord centré sur l'aspect musique, chants et contes pour s'ouvrir aux différentes croyances, proverbes et dictons pour s'intéresser récemment aux histoires de vie des « porteurs de tradition ». Dastum doit donc tisser un véritable réseau avec les différents collecteurs, privés ou associatifs, afin de leur expliquer ses missions et arguer des intérêts réciproques à ce que leurs collectes soient mises à disposition du plus grand nombre en échange d'une pérennisation des supports. Chaque déposant signe un « contrat de dépôt» dans lequel est stipulé les différents droits et devoirs des deux parties (droit de reproduction, de communication, d'édition)
Moyen humain: Dastum a d'abord sollicité son réseau proche (les fondateurs) pour alimenter son fonds. Depuis peu nous avons le projet d'avoir deux «Conservateur du patrimoine oral» l'un en Haute Bretagne l'autre en Basse Bretagne, pour remplir cette fonction d'animateur de réseau tout aussi bien capable d'aller chercher des collectes que de répondre à des questions précises sur ce domaine. (cf profil de poste en 8 -C). Celui que nous avons embauché pour la Haute Bretagne a un master d'Histoire, est l'auteur d'une importante collecte en Haute Bretagne, est titulaire d'un DE de Musiques Traditionnelles et est par ailleurs un militant associatif responsable d'un festival de Chants traditionnels

2- SAUVEGARDER :
Ces supports sont ensuite numérisés, chantier débuté en 1999, documentés, item par item, puis mis en consultation sur Internet. La base de donnée documentaire est accessible chez tout un chacun. Le logiciel accueillant cette base de donnée est sur Alexandrie-6 ce qui permet des interrogations à différents niveaux (collection, fonds, enquête, collecteur, item).Un document sur le traitement documentaire des archives sonores a
été élaboré avec la BNF et la FNAS, qui fait référence actuellement. Les autres documents (photos, cahiers de chansons sont aussi en cours de numérisation et de documentation
Moyen humain: un documentaliste, une aide documentaliste chargées de rendre l'information accessible à tous. Deux techniciens de numérisation, issus d'emplois aidés qui se sont formés sur place à la numérisation. Notre protocole de numérisation est reconnu par la BNF, dont nous sommes pôle associé par 1biais de la FAMDT, et l'INA.

3- TRANSMETTRE:
L'association a toujours cherché à rendre public ce qui avait été collecté Cependant le son n'est pas disponible, principalement pour des raisons de droit, sur Internet; le site existe depuis 1999, et il nous faut donc multiplier notre présence sur le territoire. Des points consultation existent actuellement dans nos Pôles associés. D'autres se mettent en place depuis deux ans dans les écoles de musique, les Archives Départementales et les écomusées.. Nous sommes régulièrement sollicités pour des demandes de documentation très diverses allant de l'aide à la création d'une exposition thématique à des demandes personnelles (répertoire familial par exemple).
Moyen humain: informaticien, conservateur du patrimoine oral, documentaliste, directeur

- Éditions: Depuis sa création Dastum mène une politique éditoriale afin de valoriser ses archives. C'est aussi le moment privilégié pour effectuer un travail documentaire de fond sur un domaine précis ( ex : les métiers en Bretagne, le style d'un chanteur, la danse d'un pays, la biographie d'un musicien etc..)Moyen humain: un responsable des éditions
Nous éditons une revue bimensuelle (musique bretonne, l'actualité du patrimoine oral de Bretagne) qui fait le point tant sur les dernières recherches que sur l'évolutions des pratiques liées au patrimoine oral en Bretagne
Moyen humain: une assistante de publication

- Formation : Nous intervenons régulièrement dans des formations sur la collecte, la numérisation, la documentation, le patrimoine oral, l'oralité. Nous organisons cette année, avec l'IRPa, deux jours de
rencontres sur le Patrimoine Culturel Immatériel à Rennes avec le patronage de l'UNESCO à
l'adresse des acteurs culturels, individuels ou associatifs, de Bretagne

4-PERSPECTIVES :
Continuer de développer le réseau de Points de Consultation ( Bretagne et ailleurs)
Travailler en lien avec l'éducation nationale à la diffusion de ce patrimoine vers les écoles en lien avec la notion de patrimoine culturel immatériel et de diversité culturelle
Favoriser la transmission de ce patrimoine en multipliant les formes d'intervention. Et toutes les rencontres avec d'autres formes d'expressions.
Notre activité se déplace u fil des années du pôle collecter au pôle transmettre. L'importance de celui-ci devenant primordial au fil des années il conviendra de tout mettre en place pour le développer.
Coopération:
RESEAU DASTUM : l'ensemble de nos activités concourt donc à la création d'un réseau Dastum qui nous maintient en lien permanent avec les informateurs, les collecteurs, les pratiques actuelles (musicales, contées, documentaires)sans oublier les chercheurs. A noter que les Pôles associés, associations indépendantes qui oeuvrent à des missions similaires en étant notamment plus présentes sur le terrain en termes d'enquêtes et
d'animations locales, avec qui nous avons passé une convention et qui adhèrent à la Charte de Dastum sont présents de droit dans notre conseil d'administration. Ces pôles, au nombre de neuf, sont tous actifs dans la vie musicale bretonne et sont des relais importants de nos actions.
Les consultants (répertoriés) sont ceux qui viennent consulter dans nos locaux et sont en grande majorité des jeunes musiciens en quête de répertoire. Nos conventions « Points de consultation» avec les écoles de musique permettent un accès direct à nos archives. Ces consultants ne sont pas comptabilisés. Les liens se font avec un
professeur responsable.
Nous avons récemment mis en place une convention chercheur-associé pour permettre un accès facilité à nos archives en échange de la possibilité d'utiliser d'une manière ou d'une autre leurs travaux. Le lien avec les praticiens se fait aussi par notre revue Musique Bretonne qui demeure la seule revue à aborder la vie musicale, professionnelle ou amateur, en Bretagne et de s'en faire l'écho. Un agenda fait aussi état des principales manifestations programmées. Il faut noter que nous étions le correspondant de l'IRMA et de l'EPCC Spectacle Vivant en Bretagne pour la mise à jour des annuaires de la musique. Nous ne pouvons plus, faute de moyens, assurer cette mission. Nous gardons cependant un rôle d'expertise dans ce domaine
Nous venons de mettre en place une commission danse afin que les principaux acteurs se rencontrent et fassent état de leurs demandes vis-à-vis de Dastum Une mise à jour des fiches de danse présentes sur notre site (Panorama de la musique bretonne) et une meilleure visibilité de celles-ci est en cours.

Date de création: 2008
Domaine(s):

- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- Training and Consultation on safeguarding intangible and tangible cultural heritage

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Iran (République islamique d’)

Objectifs:
1. Identify, Conserve and Preserve Yazd's diverse tangible and intangible cultural heritage resources as a basis for retaining and enhancing strong community character
2. Defining a preliminary suitable template for a National and local Inventory of Intangible Cultural
Heritage to:
Enhance knowledge of intangible cultural heritage among the community and tourists;
Familiarize national officials with the mechanisms of the Convention for the Safeguarding of the
Intangible Cultural Heritage (2003), and organize training in the documentation of intangible cultural heritage.
3. Promote cultural tourism and cultural heritage through supporting local craftsmanship and training activities
4. Raising public awareness in protecting tangible and intangible cultural heritage in historical quarters
5- Promote historic and cultural resource conservation and preservation as a socio-economic tool in the revitalization of historical quarters.
Activités:
1. Public awareness campaign and media support on heritage conservation with community and local government
2. Advocacy with governmental and non-governmental organizations and media to support responsible policies in terms of intangible cultural heritage in historical quarters
3. Training of local craftsmanship and development of local handicraft market in historical quarters
4. Organization of seminars, training workshops, exhibitions and cultural festive to support intangible cultural heritage with participation of local communities in historical quarters
5. Provision of consultancy to municipalities in heritage-based elements of revitalizing historical quarters
6. Facilitation of community-based activities to mobilize and empower local community in protecting cultural heritage in historical quarters
7. DHKKA has initiated an inventory of the endemic folk and decorative arts, crafts and trades that have the potential to be officially recognized as Yazd heritage products, conducting an inventory of those craftsmen, artisans and trades people that are using traditional methods for the production of heritage products and creating and maintaining a database of "living history" interpreters, storytellers, and musicians as a basis for future heritage tourism development opportunities.
8.1n response to safeguarding of intangible cultural heritage, the most important achievement of the DHKKA is initiation of 'Badgir Foundation', dedicated to research, documentation and study of Indigenous Technology and Utilization of Wind Towers for promotion of Environmentally Compatible Energy Systems in Iran. Pursuant to the 2-year attempt of DHKKA in official endorsement of the 'Wind Towers Technology" as an Iranian Intangible Cultural Heritage, compiled by a team of researchers and consultants, the initiative was officially approved in the 8th National Congress of Recording Intangible Cultural Heritage in early 2013. DHKKA is currently building on advocacy and documentation of 'Wind-Tower' as a UNESCO- supported Iranian
Intangible Cultural Heritage at International level to promote the Global enforcement of local and national initiatives.
9. In addition to official documentation of 'Wind-Tower' technology as the national intangible heritage, DHKKA has also contributed to documentation and promotion of Traditional Games (including Mallet) in Yazd as Indigenous ways of communication and social learning, facilitating interactive apprenticeships particularly for the youth. DHKKA has also contributed to promotion and marketing of Yazd Traditional Sweets, Bakery & Confectionery Products using the tourist trail approach and it aims at documenting and recording the Traditional Games, Sweets and costumes of Yazd as Iranian Intangible Cultural Heritage at International level.
Coopération:
Among many of its community-based initiatives, DHKKA has formed the group "Heritage Safe Keepers". The group has served as a catalyst in mobilizing the local community in protecting cultural heritage in Yazd historical quarter. Accordingly, the group has been active in advocacy with local government, media and NGOs in raising awareness on heritage conservation and has contributed to research activities and strategy making in regenerating/revitalizing historical quarters. The group has also involved local community in organizing cultural festivals and exhibitions, also advocating cultural tourism by training specialized tour guides and leading cultural tours in Yazd historical quarters. DHKKA leads community-based, environmental campaigns that inspires and empowers communities living in historical context of Yazd to clean up, fix up and conserve their environment. The awareness raising events with the common goal of cleaning up, fixing up and conserving the local heritage environment are organized during Norouz (Iranian New Year) and other national festivals. DHKKA also promotes Cultural tourism by organizing special cultural events, exhibitions, and celebrations during tourism seasons, promoting the local cultural heritage through exhibitions showcasing traditional crafts, artwork, sport and cuisine.
DHKKA also involves both the local community and the tourists in promotion, coordination and organizing of cultural, artistic, sport and other performances that contribute to enrichment of cultural tourism. The activity is facilitated by involving the community and tourists through participating in conferences, workshops, attending historical and religious festivals and reviving folkloric, traditional and artistic activities, as well as through organizing cultural tours and visits. Through its community members and active volunteers, DHKKA has initiated local tourist informative centers to inform visitors about tourism, cultural and heritage values of the community.
DHKKA has mobilized the community in creating and maintaining local inventories of available historic buildings and structures, at local level, which has resulted in registration of the houses of the famous 'Farrokhi Yazdi' and 'Bostani' among the national cultural heritage of Iran.

Date de création: 2003
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Égypte

Objectifs:
The Objectives of Egyptian Society for Folk Traditions include cultural and scientific services. It provides technical and intellectual assistance to Folklore students and the traditional bearers of the intangible cultural heritage in the form of training and safeguarding. The Society, also provides different organizations and governmental agencies with informations related to intangible cultural heritage whenever necessary.
The Egyptian Society for Folk Traditions aims at raising the awareness of the importance of the intangible cultural heritage in strengthing the Egyptian identity and need for safeguarding our heritage. The Egyptian Society for F'olk Traditions collaborates with Archives of ICH for preparing a database for the compilations of the lCH of Egypt with a special attention to the traditional elements that are in danger and need to be
safeguarded.
Activités:
The Egyptian Society for Folk Traditions is engaged in the following activities.
a. Lectures and presentations.
Weekly meeting for members to attend IBctures related to the field of intangible heritage
b. Traditional festivals and celebration.
Participating in national and local Egyptian Festivals and documenting them.
c. Research Activities
1.Collecting, documenting, protecting and safeguarding the Oral Epic Al·sirah Al-Hilallyyah for hundred and fifty recording were collected accompanied by photo and videos from fifty poets. This project recieved
UNESCO award of Sheikh Zayed Ibn Nahian as a Master Piece of the oral and intangible cultural heritage of humanity In the year 2003.
2. Collaborating with the National Council for Women In documenting the Art of Tally in upper Egypt. In addition to participating in training 360 girls on Art of Tally. The Egyptian Society published a book entitled
The Mahing of a Traditional Artist as an outcome of this research.
3. Collecting and safeguarding tradltlonal festivals witlh collaborations with Culture Unit of the UNESCO in Cairo within the framework of the Netvvork of Traditional Festivals of the Mediterrean.
4. The Egyptian Society for Folk Traditions provided the Modernization Centre of Ministry of industry with a survey of all the traditional crafts in all of Egypt. We supplied the center with information on 365 traditional craft.
5. The Egyptian Society for Folk Traditions compiled a photographic portpholio on the cultural diversity of The Egyptian tangible and intangible heritage.
6. The personal and members of the Egyptian Society for Folk Traditions are professors, students, experts in Folk Traditions from the fields, anthropology, sociology, applied arts and social and cultural research.
(the society included 180 members) the society include also folk poets, singers. story tellers, craftsmen end traditional artists.
Coopération:
In our process of collecting and documenting the ICH we respect and safeguard the practionors identity and their ownership of the material coflected according to the norms of the intellectual property right
(IPR). We also support and invite traditional practitioners to participate in exhibitIons in Egypt and abroad to exhibit their products.
We facilitated means for traditional artists to join and participate in exhibitions in Egypt and abroad (France and Italy). Traditional singers and dancers join celebrations of the Society and Archives.

Date de création: 1999
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- Youth

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Ouganda

Objectifs:
Preserve development and promote cultura heritage as a resource for social economic development.

Establish and mantain infrastructure and facilities for preservation and development of cultural heritage and youth talents and skills development.

Develop talents and skills of the youth for self - reliance.


Additional information:

The Memorandum and articles of association provide eight general objectives. Each objective can be operationalised by a big programme. This was intended to give unlimited scope and alternative programme areas but impossible to be all implemented. The organisation eventually developed a round five of the eight objectives all curved by the theme CULTURE AND DEVELOPMENT.

OBJECTIVE C
Empower youth to exploit their talents, skills development and promote creativity and self reliance. Culture become the instrument of the empowerment of the youth to build confidence and creativity for self-reliance. Skills and talents are developed in cultural and indigenous expression, like music, dance, drama and folklore. Youths and women entrepreneurial skills were developed in safeguarding, preservation and promotion of indigenous knowledge and entreprises.

OBJECTIVE D
To promote organisational discipline and effective leadership. Cultural values and indigenous knowledge was re-claimed to promote leadership and society organisation. Thus positive traditions, customs and philosophy in proverbs and sayings are used to promote good leadership practices.

OBJECTIVE F
To enhance partnership and networking with development organisations and progressive intelligentsia.
The target for partnership and networking are cultural clubs and associations in the target society who are also targets for membership and beneficiaries to the programme. At external level, the target for partnership are organizations that support culture or cultural approach to development, protection and promotion of indigenous or traditional knowledge. Hence the organisations with which we have networking and partnership relationship include
-Cross Cultural Foundation of Uganda which documents and publishes our innovative cultural approaches.
-Common Wealth Foundation department of culture and diversity which gives grants to some of our cultural projects.
-Arterial Network which networks us as one of the cultural organizations in Africa
-UNESCO which funds capacity building for our Koogere Community Museum through Cross Cultural
Foundation of Uganda.
-WIPO which accredited us to participate in the sessions of intergovernmental committee on Intellectual Property and genetic resources, Traditional Knowledge and Folklore.
-Prince Claus Fund for Culture and development which funds some of our projects.
-HIVOS which funded some of the projects.
-International federation of Arts councils and cultures Agencies (IFACCA) which invites us to participate in the biannual world summits on arts and culture
-National Indigenous knowledge systems office NIKSO
- South Africa with which we have learning exchange relationship to enable us build capacity for traditional knowledge) reserach and documentation as a means of protection of indigenous knowledge.
-Traditional Knowledge Digital Library TKDL - India with which we have learning exchange relationship to enable us build capacity for traditional knowledge reserach) documentation and digital database development as a means of traditional knowledge protection.
-Engabu Za Tooro is finalising arrangements to either partnership with the Ministry of Gender) Labour and Social Development - Government of Uganda through a memorandum of understanding. This is the ministry incharge of culture and heritage.

OBJECTIVE G
To promote the vitality of culture as a basis of individuals confidence and self realisation. This objective gave raise to the overall theme of the organisation as a culture and development which is operationalised into an overall cultural approach to development.

It should be however noted that the organisation is in need of rephase the objectives in the memorandum and articles of association to be directed to this theme.
Activités:
Engabu Za Tooro researches, documents and reproduces the traditional folklore and promote it to modern stage through community perfomances, festivals and competitions.

Engabu Za Tooro identifies critical indigenous knowledge in the in the traditions revitalises it and reconstructs it into modern social development using music, publications and media.

Engabu Za Tooro develops cultural enterprises and services and professionalises service providers through training and market development.

Engabu Za Tooro collects and preserves traditional materials into community museum.

Engabu Za Tooro mobilises, trains and coordinates cultural consultants and practioners who constitutes its membership, personnel and programme beneficiaries. Engabu Za Tooro currently benefits from UNESCO funded capacity building country programme for community museum operators. It also benefits from international training workshops and exposure as a result of its accreditation to World Intellectual Property organisation (WIPO) intergovernmental committee on Intellectual Property and Genetic Resources, Traditional knowledge and folklore (accreditation certificate attached).


Additional information:

Engabu Za Tooro currently has two major programme areas
1. Youth Talent Development
This programme mobilises and trains the youth to develop their talents and skills in their indigenous cultural expression in perfoming art and folklore so the programme researches, documents, publishes and promotes peoples cultural heritage in form of folklore and music.

The programme re-invests the people's indigenous wisdom in proverbs, sayings and oral traditions, promote and intergrate it in the mainstream development thought and practice. This old wisdom is promoted by research and re-producing it in music, dance which is popularised through festivals and competitions.

Art pieces produced around the old traditions of indigenous communities has won national and international music and video awards. The Cultural Troupe which packages this traditional wisdom perfoms at national and international venues and events. In September and October 2010, this troupe will lead
cultural education and entertainment in several convention/conferences in several cities of USA (see attached invitation letters).

2. Culture in Development Programme
This programme researches, documents and promotes indigenous knowledge in production. Thus it promotes cultural enterprises and services and uses traditional knowledge in peoples traditions to inspire and stimulate economic activity. Specific activities involve research, training and market development of indigenous enterprises and collection and preservation od cultural materiall in community museum.

Koogere women empowerment project which uses the old tradition of a heroine to stimulate grasroot women participation has been recorgnised as a model case study in re-constructing people's traditions in today's development practice.

The organisation currently is using experience of participating in the WIPO's sessions of Intergovernmental committee on intellectual property and genetic resources) traditional knowledge and folklore to develop a programme of protection of traditional knowledge through research and documentation. The organisation is networking with traditional knowledge digital library of India and national indigenous knowledge systems office South Africa to develop the programme of protection of indigenous knowledge.

Yes, we are also registered with the NGO board. The certificate is attached. These certificates are renewed periodically and in most cases processes of renewal are delayed. The organisation is also finalising a process of entering a amemorandum of understanding for partnership with government through the Uganda ministry in charge of culture i.e ministry of gender, labour and social development
Coopération:
The organisation run training sessions called cultural school where cultural practitioners come together to share experience, skills, build knowledge through documentation, coordination and networking.

The organisation links and facilitates cultural groups to exhibition festival and training oppotunities.

The organisation holds an annual cultural festival called "Koogere Week" where heritage practitioners come together to compete, debate, exhibit, demonstrate and celebrate.

Date de création: 1992
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Bénin, France

Objectifs:
- Valoriser les savoirs et savoir faire traditionnels et modernes, comme tremplin de tout développement culturel et durable,
- promouvoir et renforcer la participation de la société civile à l'animation de la vie culturelle sociale et humanitaire,
- renforcer la contribution du Bénin dans le partenariat culturel régional et international,
- assurer la mobilité des cultures endogènes du Bénin à travers les festivals internationaux,
Activités:
- Pratique et diffusion des danses traditionnelles béninoises,
- Festival International des Rituels et Danses Masquées (FERIDAMA)
- Préservation, protection et valorisation du patrimoine culturel matériel et immatériel
- Documentaires ethnographiques
- Sensibilisation au développement, formation
- Présence dans des réseaux
Coopération:
Au niveau national (Bénin):

Fonds d'Aide à la Culture du Bénin,
Ministère de la Culture, de l'Alphabétisation, de l'Artisanat et du Tourisme du Bénin, Participation tous les ans de quinze de sociétés de masques au Festival international des rituels et
des danses masquées (FERIDAMA), organisation d'expositions sur les masques, recensement de
54 villages à sociétés de masques

1993 : festival mondial du culte vodoun (Ouidah 92 au Bénin)

Au niveau régional (Afrique Occidentale): ASAMA (Burkina Faso), accréditée PCI

Participation au festival des masques de Dédougou

1997: Masa festival à Abidjan; 1999: Masa festival à Abidjan et obtention du prix UNESCO pour la meilleure création en danse en Afrique. 1er prix de danse au Retheb au Bénin et tournée artistique dans plusieurs villes de Ghana (par alliance française d'Accra); 2000 : Nuits Atypiques de Koudougou au Bénin; 2001 :Participation au Retheb à Cotonou et obtention du 1er Prix de danses et participation au festival de Lagos au Nigéria « Symphonie of Fire »; 2002 : Tournée nationale et régionale (Afrique de l'Ouest); 2004 : Participation à la coupe d'Afrique des Nations en Tunisie (Animation culturelle pour le soutien) 2006 : Participation à cérémonie d'ouverture du Festival International du Théâtre du Bénin (FITHEB) des Ecureuils du Bénin); 2009 : Burkina Faso, Mali;
2010 : Première édition du Festival des Rituels et des Danses Masquées lancé par Towara; 2012 : Participation à de nombreuses manifestations au Bénin (FITHEB....)


Au niveau international :

Association Nationale Cultures et Traditions- (Gannat-France), en relations officielles avec
Unesco et accréditée PCI EUROPE
1996: festivals au Danemark, Russie, France, Suisse, Italie); 2003: festivals au Centre et Nord­ Ouest de la France Festival international d'Alençon en Normandie Festival international « Les Cultures du Monde » Plusieurs manifestations estivales à Montluçon, à Vichy, à Cusset et à Clermont Ferrand; 2007 : festivals et manifestations culturelles dans 20 communes en France;
2008 : festivals en Slovaquie, Tchèquie, Allemagne, Italie et France; 2011: tournée en France de
Towara Junior; 2013 : France et en Suisse

ASIE

1997 : festival de Gagawa dans le Shikoku au Japon; 1998 : manifestations estivales à Tokushima au Japon; 2000 : Tournée artistique à Tokyo et à Nagasaki au Japon; 2009 : festivals en France, Allemagne, Espagne

AMERIQUE

2000 : festival de Wémiléré au Cuba; 2005 : manifestations culturelles à Cuba; 2011 : tournée artistique d'un mois au Brésil

MOYEN ORIENT

2013 : Tournée à Dubaï

Participation aux congrès mondial du CIOFF, réunion du CIOFF Afrique-Europe du Sud

Date de création: 1999
Budget: U.S.$2500000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Foodways, traditional sports and games, information technology for heritage, cyberculture, heritage education.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- other
- Impact analysis and policy evaluation, surveys, promoting sustainable development, use of information technology, participation methods and cultural brokerage.

Pays principaux d'activité:

Afrique du Sud, Belgique, France, Pays-Bas

Objectifs:
The Non-Governmental Organization FARO functions as a support center to make interesting policy instruments like the 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, the 2005 Council of Europe Framework Convention on the Value of Cultural Heritage for Society and in particular the (new) cultural heritage decree of the Flemish Community (23 May 2008), work in practice and to explore their full potential. FARO acts as an interface between local, provincial, regional and national governments, international networks, local and national heritage organizations and institutions, the academic world and civil society. Cultivating open collaboration and win-win-situations is a preferred method, next to stimulating communities of practice, reflexivity and working towards milestones and good practices in heritage projects. FARO assists heritage networks and organizations to develop strategies and helps to put these plans in practice. FARO is a professional interdisciplinary organization doing and facilitating research, exploring and distributing information about new working methods and good practices, cultivating innovation in safeguarding programs. Raising awareness and promoting dialogue about and through cultural heritage and enhancing visibility of safeguarding practices in the field of intangible and tangible heritage, are main objectives. Studying the effects and impact of cultural heritage policy and practices and giving feedback to policy makers and organizations are also an important challenge. Facilitating international cooperation and exchange and stimulating organisations in Flanders and Brussels to participate in international debates and projects is a crucial objective. For more information see www.faronet.be.
Activités:
FARO is the interface for cultural heritage in Flanders/Belgium, providing practical support and other services for museums, archives, popular culture organisations,heritage NGOs and intangible cultural heritage practioners. This includes organizing courses, workshops and training programs, coaching and training field specialists and cultural brokers, publishing books, journals, DVDs and making websites about cultural heritage, developing a documentation and information center, conducting surveys and systematic research, sensitizing and envolving civil society for cultural heritage issues. The interdisciplinary team uses methods and theories of cultural anthropology, ethnology, cultural and social history, public history, art history, linguistics, information science, cultural studies, museology, archivistics and heritage studies. FARO has a specialized library focussed on heritage studies, popular culture and methodology. Special efforts are devoted to ICT and digitization programs, in particular webbased applications and multimedia projects. Programs are being developed for sustainable development, deontology and ethics in heritage safeguarding practices and intercultural exchange. FARO provides expert assistance in safeguarding intangible cultural heritage to groups and communities requesting help. FARO also coordinates recurrent national events, like the cultural heritage day or the week of taste. Implementing and combining international conventions is crucial in the strategy of FARO.
FARO has a staff of (on average) 30 full-time employees (21 staff members and, on average, 9 temporary project managers or collaborators) , of which 80% has an academic degree (Ph.D. or master) in heritage studies, history, art history, linguistics, anthropology, information and computer sciences or other disciplines. FARO is the result of the fusion in 2007/2008 of the VCV (NGO founded in 1999, for safeguarding intangible cultural heritage) and CBV (NGO for museums, archives and heritage consultants). The staff of both organizations (VCV en CBV) is now active in the new network organisation FARO, cultivating interdisciplinary collaboration and working. The annual budget ranges between 2 and 3 million euros.
Marc Jacobs, Ph. D., director of FARO, has participated as an official expert in all phases of the drafting process of the 2003 UNESCO convention and was the expert representing Belgium in the Intergovernmental Committee in 2006-2008. This illustrates how active VCV, now FARO, has been involved in the whole process of preparing and then implementing the 2003 UNESCO-convention for the safeguarding of ICH.

Coopération:
FARO is the official national support organization in Flanders (including Brussels) for heritage networks, volunteer organisations, local communities, tangible and intangible heritage specialist and practioners.(see www.faronet.be). It is subsidized by the Flemish government to develop and implement methods, training programs and platforms for empowering groups and practitioners to participate in heritage work and policy issues. The Flemish Center for the study of Popular Culture (VCV) now FARO, has since 1999 succesfully managed (in helping) to include volunteer networks and NGOs as full participants in heritage policy and debates, resulting in the official recognition in the 23-5-2008 decree on cultural heritage in Flanders. VCV/FARO has set up dozens of projects with heritage communities and groups (see www.faronet.be). Intercultural contacts, cultural diversity and working with migrant groups is a specific focus of FARO. FARO is also participating in projects establishing international networks of NGOs and stimulating communication (see for instance http://www.heritage-organisations.eu/).

Date de création: 1930
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- savoir-faire liés à la pratique des jeux traditionnels

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- représentation des intérêts des jeux et sports traditionnels de Bretagne auprès des collectivités locales (ex : le président de la FALSAB est membre du conseil culturel de Bretagne, instance consultative du conseil régional de Bretagne)

Pays principaux d'activité:

France

Objectifs:
Les principaux objectifs de la confédération FALSAB sont de collecter, identifier, sauvegarder, pérenniser, promouvoir, revitaliser, développer et transmettre les jeux et sports traditionnels de Bretagne avec une priorité au renouveau des jeux et sports traditionnels de Bretagne par les jeunes générations.
Un autre objectif étant également l’ouverture et la diffusion des jeux et sports traditionnels vers le plus grand nombre.
Pour cela, un autre objectif est de fédérer le plus largement possible les praticiens et structures ou les personnes qui œuvrent autour du domaine des jeux traditionnels de Bretagne. La confédération fédère les acteurs des jeux traditionnels à travers trois collèges principaux :
- Le collège des "comités et fédérations" qui coordonne et organise des pratiques spécifiques (par exemple ; quilles du Léon, palet su planche de Haute Bretagne, palet sur route du Morbihan, etc…). Ces structures regroupent des clubs qui comprennent des praticiens experts dans leur discipline locale.
-Le collège des structures d'éducation populaire et/ou à caractère socioculturel et touristique. Ce sont des associations et structures qui œuvrent à la promotion et à la transmission des jeux traditionnels de Bretagne
- Le collège des personnes physique regroupe toute personne désireuse de s’investir dans les objectifs listés précédemment.
Devenue confédération dans les années 90, la FALSAB (confédération des jeux et des sports traditionnels de Bretagne) regroupe aujourd’hui 11 Comités et Fédérations de jeux et sports traditionnels d’adresse et de force ainsi que 24 structures (associations, communes) consacrées à leur diffusion et s’inscrivant dans une dimension d’éducation populaire et socioculturelle. L’ensemble représente un véritable réseau présent sur les cinq départements bretons (Finistère ; Côtes d’Armor, Morbihan, Ille et Vilaine et Loire Atlantique) ce qui fait de la FALSAB, le référent régional en terme de jeux et sports traditionnels.
La confédération accompagne ses structures ou personnes physiques membres pour faciliter leur action au regard de la promotion ou du développement des jeux traditionnels en accord avec les objectifs fondamentaux précédemment listés.
Activités:
La confédération rassemble 35 associations réparties sur la région Bretagne et la Loire Atlantique et comprend des structures « référents » sur les Pays « Voynet » de ces départements.
Ce réseau comprend d’un côté 11 Comités et Fédérations qui représentent 129 clubs. En parallèle, la FALSAB comprend 24 structures à vocation plus socioculturelle ou touristique.
L’ensemble des adhérents rassemble 13 800 personnes
Une conseil d’administration regroupe 21 personnes issues des 3 principaux collèges qui élit un bureau de 7 personnes.
2 Permanents (un délégué régional et une assistante de développement) sont salariés à temps plein. Le délégué régional dispose d’un diplôme supérieur de l’éducation populaire et de développement local et intervient à l’université de Nantes sur la thématique « sport et territoire». Il participe au groupe de travail sur la valorisation du patrimoine culturel immatériel en Bretagne.

5 grands axes d'activités sont développés tels que :
1- La transmission culturelle des jeux au plus grand nombre avec une attention particulière à la jeunesse
- A travers l’incitation à la réalisation et le soutien des projets des comités et associations membres.
- Une action d’animation, à travers son action d’éducation populaire. La FALSAB réalise des animations auprès des écoles, des centres de loisirs, des associations de quartiers, centres socioculturels, festivals, des collectivités, etc.. La confédération participe à la réalisation de projets éducatifs.
- L’ensemble des règles des jeux abordés en animation ou dans le cadre d’une mise à disposition de jeux est accessible au plus grand nombre sur notre site Internet. Ainsi les personnes qui le souhaitent peuvent fabriquer leurs propres jeux et participer de façon autonome à la diffusion des jeux traditionnels de Bretagne.

2- L’accompagnement des projets de développement et de promotion des associations et comités membres du réseau
- Accompagnement et aide au montage de dossiers et projets des acteurs du réseau et plus largement avec les partenaires.
- Mise à disposition pour les adhérents du réseau relevant du champ de l’éducation populaire de Kits d’animation (Panneaux pédagogique, dépliants, banderoles, carnet de points pour les animation, équipement d’animation)
- Aide à la formation des acteurs du réseau des jeux traditionnels bretons : formation à l’animation grand public, public handicapée, public enfant, mise en place de formations fédérales afin de valoriser les bénévoles, formation à l’informatique, à Internet, aux différentes dimensions concernant plus largement la vie associative.

3- La création d'outils pédagogiques pour la promotion et le développement des jeux traditionnels bretons
Mise en place d’outils de communication à destination du plus grand nombre : site Internet, revue annuelle, livres et ouvrages pédagogiques, films, expositions, fiches pédagogiques, dépliants promotionnels, Panneaux d’animation.

4- Animation du réseau des jeux et sports traditionnels de Bretagne
- La Confédération FALSAB constitue un espace de réflexion, d’expression et de réalisation de projets autour de la pratique des jeux traditionnels. Les acteurs de la confédération peuvent s’investir dans la réalisation de projets.
- Mise en place d’outils participatifs et d’animation du réseau des acteurs des jeux traditionnels (journal interne, revue annuelle)
- Création d’un rassemblement annuel des acteurs de la confédération et d’actions confédérales mettant en avant les acteurs du réseau.

5- La promotion et la reconnaissance des jeux
- Par la création ou la participation à des manifestations à caractère scientifique et pédagogique (organisation ou participation à des colloques internationaux, rencontres internationales, conférences, formations, etc.)
- L’inscription dans des actions partenariales au niveau des territoires (avec les acteurs du développement local tel que le groupe de travail breton à la reconnaissance de la notion de Patrimoine Culturel Immatériel en lien avec l’association DASTUM, par exemple)
- La participation à certaines manifestations de diffusion et la création d’animation (location de jeux, animations avec participation du grand public ou de publics spécifiques (public handicapé, enfants, etc…) ; participation et inscription dans des festivals tels que le Festival Interceltique de Lorient et le Festival de Cornouaille, par exemple).

6- La représentation des acteurs des jeux et des sports traditionnels de Bretagne dans le cadre des instances représentatives au niveau régional, national et international
La FALSAB est conventionnée avec des collectivités locales de dimensions départementales et régionales, elle est membre du Conseil Culturel de Bretagne, de l’Institut Culturel de Bretagne et du Comité Régional Olympique et Sportif, de l’Institut Régional du Patrimoine (IRPA). Par ailleurs, elle est agrée association de « jeunesse et éducation populaire » et dispose aussi d’un agrément « sport » par le ministère de la jeunesse et des sports (cohésion sociale). Enfin la FALSAB est membre de l’association Européenne des Jeux et des Sports Traditionnels de Bretagne.
Coopération:
La Confédération FALSAB constitue un espace de réflexion, d’expression et de réalisation de projets autour de la pratique des jeux traditionnels.
La confédération rassemble 35 associations réparties sur la région Bretagne et la Loire Atlantique et comprend des structures « référents » sur les Pays « Voynet » de ces départements.
Ce réseau comprend d’un côté 11 comités et Fédérations qui représentent 129 clubs. En parallèle, la FALSAB comprend 24 structures à vocation plus socioculturelle ou touristique.
L’ensemble des structures rassemble 13 800 personnes sur les 5 départements bretons
Les 3 collèges des adhérents de la confédération correspondent :
- aux Fédérations de praticiens,
- aux association de promotion et de transmission
-et aux personnes physiques.
L’accent a été mis sur l’ouverture au plus grand nombre. Ces trois collèges sont représentés au sein de son conseil d’administration.
Les principales structures qui s’investissent dans les jeux et sports traditionnels de Bretagne sont membres de la Confédération ou partenaires.
La FALSAB participe au groupe de travail régional pour la promotion et la réconnaissance de la notion de patrimoine culturel immatériel. Elle œuvre pour la reconnaissance des jeux et sports traditionnels de Bretagne dans les instances régionale de la culture et du patrimoine ou auprès des collectivités.
La FALSAB est membre de plusieurs instances régionales du sport, de la culture et du patrimoine de Bretagne :
-Le Conseil Culturel de Bretagne (instance consultative du conseil régional de Bretagne).
-L’Institut Culturel de Bretagne.
-La Coordination Kevre Breizh (Coordination culturelle de Bretagne qui rassemble les principales fédérations culturelles de Bretagne).
- DASTUM (association de collectage et de transmission du patrimoine culturel immatériel en Bretagne accréditée ONG auprès de l’UNESCO).
-L’IRPA (Institut Régional du Patrimoine).

-Le Comité Régional Olympique et Sportif (C.R.O.S.).
-L’AEJST (l’Association Européenne des Jeux et Sports Traditionnels, qui est accréditée ONG auprès de l’UNESCO).

La confédération FALSAB perçoit des subventions de fonctionnement de la région Bretagne, et des départements du Finistère, des Côtes d’Armor, de la Loire Atlantique et du Morbihan.
Elle est agréée « sport » et également « jeunesse et éducation populaire » par l’Etat Français.

Date de création: 1978
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Albanie, Allemagne, Autriche, Belgique, Bosnie-Herzégovine, Bulgarie, Chypre, Croatie, Danemark, Espagne, Estonie, Finlande, France, Grèce, Hongrie, Irlande, Italie, Lettonie, Lituanie, Luxembourg, Malte, Monténégro, Norvège, Pays-Bas, Pologne, Portugal, République de Moldova, Roumanie, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord,

Objectifs:
FACE's main objectives are to promote hunting, in accordance with the principle of wise and sustainable use of natural resources, as a tool for rural development and conservation of our wildlife and biodiversity, as well as to preserve hunting as a cultural heritage together with the hunters' communities by allowing hunting traditions and shared knowledge to be passed on. As part of this FACE, representing 7,000,000 hunters and recognising the rich cultural traditions associated with hunting and hunters, works to safeguarding the undeniable, rich and varied cultural aspects that sustainable hunting traditions have added to and have helped to enriched Europe’s common heritage, as reflected over the centuries in our art, gastronomy, music and literature.

Additional information:
1) To promote and defend hunting, in accordance with the principles of sustainable use of natural ressources. Hunting has long and deep traditions spanning over thousands of years. Hunting as such (i.e. different hunting methods, such as hunting with hounds, falconry, stalking, calling etc.) as well as the traditions associated with hunting (like music, art, festive events, literature, knowledge about nature, gastronomy, hunting artefacts) constitute a rich and multiMfaceted intangible cultural heritage. In promoting and defending hunting, FACE seeks to safeguard a cultural heritage together with hunters' communities by allowing hunting traditions and shared knowledge to be passed on.
2) To establish and maintain permanent relations and exchanges between hunting associations, supporting their efforts and taking part in their work.
3) To defend the moral and physical interests of members of Member Associations, taking joint decisions on subjects of common interest and implementing those decisions.
This along with the promotion of hunting (as mentioned in point 1) implies to develop, maintain and amend national and international laws, treaties and conventions to permit the pursuit and perpetuation of hunting traditions, hunters' interaction with nature and their history, which provide our members with a sense of identity and continuity.
4) To contribute towards enlightening the public at large as to the principles of sustainable hunting, their value in the management and wise use of game and its habitats, as well as to the important role the public can play in the conservation of game and its habitats. This includes to uphold a positive public image of hunting and respect for hunting culture and traditions.
5) To promote all forms of activity, research and contacts associated with game and habitats, in particular with all national and international organisations which have similar concerns or would help in achieving the Federation's goal.
6) To raise and manage funds to contribute financially to projects of scientific research, of technical work, of conservation and management of wildlife and its habitats, of information and awareness raising and to any other initiative aiming to promote biodiversity conservation through the sustainable use of renewable natural resources.
Activités:
As a Federation much of the direct activities related to safeguarding cultural heritage is conducted by our Members who in many cases have persons dedicated to managing cultural heritage activities (e.g. horn blowing, different hunting methods, gastronomy, etc.) and regularly organise training and events to keep the traditions alive. (See section 7)
We have also organised events at a European level to showcase hunting's rich cultural heritage, including a high level event at the European Parliament called “Hunting & Culture”.

Additional information:
FACE is a non-profit international organisation, which represents national Member Associations from 36 European countries whose total membership is 7,000,000 individuals. FACE is ensuring an active membership community to pursue the objectives for which it was established. It regularly convenes the Member Associations in various Working Groups, such as the ones on 'hunting with hounds', 'bow hunting', 'ethics', 'how to communicate hunting' and others. It organises an Annual General Meeting to discuss matters of the Federation. It provides a platform for contacts between its Members and
European decision-makers, inter alia in the framework of the Intergroup "Sustainable Hunting, Biodiversity & Rural Activities", which meets regularly in the European Parliament and for which FACE is providing the Secretariat. In addition FACE is organising events showcasing huntings' rich cultural heritage, such as the recent on "Hunting and Culture" in the European Parliament, held on 22 April 2009, where participants had a gastronomic experience of game meat traditions from Austria and France, could listen to German and French hornblowers and met wildlife painters displaying their art.

Representatives of FACE in our Member Associations are organising numerous activities related to the safeguarding of hunting as a cultural heritage and are dedicated to managing cultural heritage activities (e.g. different hunting methods - such as stalking, calling, hunting with hounds, falconry, hornblowing, gastronomy, festive events, etc.). They regularly organise training (hunting courses, courses in taxidermy and the making of hunting artefacts) and events to keep the traditions alive. A part of showing hunting to
the greater public is the organising of hunters' festivals: e.g. the annual Mednieku festivals Minhauzens in Latvia (the 12th being organised by FACE's Latvian Association in 2010), bringing together hunters and non-hunters to share knowledge about hunting. FACE's Slovak Association organised the annual Hunting Days in Levice (this year for the 15th time), where representatives from the State and Town Council, and a large
number of visistors could admire exhibitions about nature and animals and the presentation and science on hunting trophies. Seminars are organised to promote and inform about specific traditions in the domain of hunting, like the one on hunting with hounds in Chambourg, France, in June 2009, or the one on game-meat in Stockholm, Sweden, in July 2009. In Italy and France and other Mediterranean countries hunters
organisations hold bird regular calling competitions.

Hunting as a intangible cultural heritage is being described by FACE and its Members in Ibooks and films: e.g. the role of hunters as holders of certain cultural values in society is described by our Swedish Association in the short film "Ett satt att leva" - "A way of living". Similar actions are carried out by most FACE Members.
Coopération:
As mentioned above our Members, who are the representative hunting associations of 36 European countries, contribute to safeguarding the intangible cultural heritage of hunting. As a Federation we recognise four broad social cultures of hunting in Europe as follows:
1. Anglo-saxon
2. Germanic
3. Nordic
4. Mediterranean

We as a Federation maintain dialogue and exchanges between these different hunting cultures and also with other rural stakeholders. Individually our Members maintain cultural practices in their countries in line with the standards and ethics of hunting. In particular they maintain traditions and practices through training and organisation of events - e.g. horn blowing, singing, story telling, bird calling, hunting terms/language and cooking.

It should also be recognised that hunters being both urban and rural based bridge the growing urban-rural divide and actively participate in important local cultural activities e.g. The Baltic Song and Dance Celebrations & the Slovácko Verbuňk, Recruit Dances.

Additional information:
Since its foundation in 1978, FACE, through various Members, has promoted and defended the practice, tradition and heritage of hunting where it has existed for centuries. As a Federation, our Members undertake to maintain aspects of their national hunting culture together with other rural stakeholders. FACE Members organise national exhibitions, contests and educational events related to their hunting culture. Where regions share similar cultures (Anglo-Saxon, Nordic, Central European & Mediterranean)
their Membership to FACE facilitates cooperation in promoting and safeguarding their hunting culture. At European and international levels FACE promotes this rich hunting heritage as shown in our Manifesto for the period 2009-2014. This is done through various means, but in all cases through drawing on the expertise and knowledge from within our Membership. Where the cultural elements relate directly to the taking of wildlife we work to ensure that these traditional socio-cultural practices are in line with
the provisions of the Convention on Biological Diversity (Articles 8j & 10c). We are aware that there is a need to cooperate in a spirit of mutual respect especially on heritage issues related to hunting, which can on occasion be divisive. In this regard we are engaging in proactive consultation to overcome conflicts, where they exist.

As a Secretariat we intervene when required to protect or promote the practice tradition and heritage of hunting. We regularly attend and lend support to national hunting events,most of which include significant elements related to the tradition and heritage of hunting.

Date de création: 2003
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
1-Sauvegarde des us et coutumes ancestrales, du patrimoine culturel et de l'identité culturelle de la partie Rive Ouest du Lac Alaotra et de l'ethnie Sihanaka. Concernant les coutumes ancestrales il y a en particulier les:
-cérémonies rituelles de demande annuelle d'eaux de pluie pour la riziculture qui est la principale préoccupation des habitants
-cérémonies rituelles ayant pour but la protection des habitants et de leurs biens contre les épidémies, la
grêle et les fléaux menaçant la production agricole.
2-Entretien et maintenance des "Doany", tombeaux de mages situés à Tanambe (lieu central) , Andranomahavelona (annexe) et à Ankitsika i\njazahazo à la source des eaux.(Avant d'aller demander la pluie au "DOANY" de Tanambe, les devins doivent d'abord exécuter un rituel à Ankitsika Anjazahazo à la source mère des eaux des riviéres.De même, vers le mois d'Avril les devins de l'Asimbe doivent aller à Ankitsika Anjazahazo, source des eaux, afin de demander aux mages d'arrêter les eaux de pluies). Afin de protéger le patrimoine, c'est-à-dire le tombeau des mages à savoir "ANDRlili'fONY BELAZA", légendaire fondateur de la ville de Tanambe vers l'an 1600, et qui a dicté les instructions à ses descendants, son neveu «ANDRIANTONITANY», son fils « JAOMAHAY » (ce sont les mages qui ont été enterrés dans le DOANY de Tanambe). A l'entrée du domaine, a été ensevelie la dépouille d'une sentinelle, le soldat appelé
"ANDRIAMAMELONA" qui est le gardien spirituel du patrimoine.
L'Association Asimbe, forte de cinquante (50) membres opère par cotisations annuelles afin d'alimenter le budget de l'entretien et de la maintenance de ce patrimoine. Ce fonds de trésorerie est enrichi par les dons des habitants dont les prières et les voeux ont été exaucés. Le lieu sacré est divisé en trois parties concentriques séparées l'une de l'autre par des haies vives la partie périphérique étant sujette à un projet de clôture en dur encore en quête de financement. La traversée de ces lieux sacrés par les animaux surtout les chiens et les cochons est formellement interdite (FADY). De plus il est aussi interdit aux gens d'uriner ou de déposer des excréments dans les parages. Enfin avant de pénétrer dans la partie centrale, il faut absolument se baigner. Selon la croyance locale, la profanation de ces "tabou" entraînerait la détérioration du pouvoir surnaturel des mages. Quant à la protection de la faune et de la flore, elle se traduit par l'interdiction de tuer les bestioles ou de d'arracher des plantes dans le voisinage du « DOANY» .Par ailleurs il existe des jours prescrits et une tenue exigée pour la visite éventuelle de ce lieu .Selon la croyance locale la profanation de ces tabou expose son auteur à des sanctions sévères voire mortelles de la part des esprits des mages.
Dans la vie quotidienne, il est interdit de travailler la terre les jeudi (tabou de la terre) et le dimanche
(tabou du ciel) .Toujours selon la croyance locale, toute infraction à ces règles est synonyme de
perturbation du cycle normal des pluies
3-Organisation et mise en oeuvres des festivals annuels appelés "VOLAM-BITA" tous les mois d'Août et «SARABE » tous les mois d'Octobre; Pendant ces festivals, les participants doivent se munir de tenues particulières (boubous blancs).Le port de soutien- gorge, de sous-vêtement et de slips est formellement interdit et le bain avant d'entrer au sanctuaire est obligatoire. Des sanctions sont infligés à ceux qui ne se soumettent pas à ces règlements intérieurs.
-Le « VOLAM-BITA» est une cérémonie de sanctification de plantes médicinales, du lieu sacré et du
matériel par le sacrifice d'oies et l'offrande de rhum traditionnel (moyen de communication avec les
esprits des mages).
-Le« SARABE» est aussi une cérémonie de sanctification mais plus importante que le « VOLAMBITA» Ainsi les ingrédients exigés sont aussi plus onéreux: au moins un taureau doit y être immolé et au moins 20 litres de rhum doit y être fourni. Le principal objectif du « SARABE » est la demande de l'eau de pluies qui doit arroser les rizières pendant la prochaine campagne culturale ,Dans cette optique, d'après la tradition 12 litres de rhum traditionnel sont exposés lors des rituels de demande envers les mages ensevelis, 2 litres de rhum de qualité supérieure et de haut prix (autrefois on utilisait du champagne) sont réservés à la sanctification du lieu sacré appelé « DOANY » en malgache qui sont les tombeaux des mages et les 8 litres restants sont offerts aux membres des groupes folkloriques qui vont animer les festivités appelées « MORARIVO » da..l1s le dialecte local. Le « VOLAM-BITA » et le « SARABE » durent 3 jours ou plus précisément 2 jours et 2 nuits. Les jours acceptables sont soit le Jeudi et le Vendredi, soit le Lundi et le Mardi Grosso modo, l'Assemblée est généralement composée de 3 parties:
-les notables ou« TANGALAMENA »qui font les discours et intercèdent auprès des esprits des mages
- les «MORARIVO » » qui exécutent les grosses besognes et qui sont responsables de l'animation
-l'ensemble des invités ou« FOKONOLONA » qui assiste aux festivités et présente ses voeux et prières
Le premier jour, le soir il y a l'accueil des convives qui sont invités à un repas. Après avoir mangé à satiété, ils sont ensuite conduits vers une grande salle appelée « ZOMBA» où vont se tenir durant toute la nuit jusqu'au matin les activités folkloriques animées par les « MORARIVO », répertoire présente les chansons appelées "ANTSA" et les danses traditionnelles appelées « OSIKA » typiques de l'ethnie « SIHANAKA ».
Le deuxième jour, très tôt le matin, c'est-à-dire entre quatre et cinq heures du matin des jeunes dont les
parents sont encore vivants sont envoyés arracher des joncs ou « ZOZORO» dans un hameau appelé
« BETSIRlRy » à quatre kilomètres. Ces gerbes de joncs seront par la suite tressées par les jeunes filles
dont les parents sont encore vivants afin d'en fabriquer des paniers, des sou biques et des nattes qui
serviront à transporter du sable qu'on mettra sur les tombeaux et à installer le ou les taureaux après leur
immolation. De leur côté les jeunes gens dont les parents sont encore vivants sont chargés d'aller chercher
des feuilles d'aloès dont les fibres serviront à confectionner des cordes avec lesquelles on va ligoter le ou
les taureaux.
Après les notables vont invoquer les esprits des mages et leur offrir les taureaux afin d'expier les imperfections Ce rituel est appelé « JORO ». Ensuite ils vont présenter les voeux et prières et enfin seront
prononcés le discours de remerciement et de prise de congé des invités.
Pour terminer la journée, les hommes forts vont disséquer les taureaux puis partager les morceaux aux
invités qui vont à leur tour les faire cuire et manger par les membres de leur famille. Il est aussi interdit de
donner les os du taureau immolé aux chiens.
Activités:
-Saisie de l'opportunité que les détenteurs des traditions orales sont encore vivants pour l'édition de documents sur l'historique et l'origine des habitants de la région Rive Ouest du Lac Alaotra, et de de l'identité culturelle de l'ethnie "Sihanaka"
-Utilisation des médias et des moyens audio-visuels pour faire connaître les us et coutumes ancestrales, le
patrimoine culturel et l'identité culturelle des premiers habitants de la partie Rive Ouest du Lac Alaotra et de l'ethnie Sihanaka.
-Transmission aux habitants de la localité de la sagesse et des techniques ancestrales de protection de
l'environnement et de sauvegarde du patrimoine immatériel.
-Réhabilitation et amélioration esthétique du patrimoine mobilier et immobilier existant afin que le site
joue un rôle touristique dans la Commune rurale de Tanambe.
-Efforts de publication de la tenue des festivals annuels comme le« VOLAM-BITA» (parole tenue) ou le
« SARABE» (grande fête).
-Comme il a été mentionné auparavant, il y a en ce moment cinquante (50) membres réguliers dans
l'Association ASIMBE .C'est le noyau dur qui a toujours soutenu volontairement et avec ferveur les activités d'organisation des cérémonies annuelles, d'entretien et de maintenance du patrimoine et de collecte de fonds.
Les membres de l'Association ne proviennent pas seulement de l'ethnie SIHANAKA, il y a beaucoup
d'autres ressortissants d'autres ethnies de Madagascar comme les MERINA, les BETSILEO et les
BETSIMISARAKA. Parmi les membres du Bureau exécutifde l'Association, il y a des intellectuels chargés de l'Administration et des relations extérieures comme le président RAKOTOVAHINY, le Secrétaire RABEVOAVY ou les représentants de l'Association au niveau de la Commune comme le Conseiller Communal RANDRIAMANANTSOA dit BODARA ou RANDRIANARISOA vice-chef de FOKONTANY (quartier). Il y a aussi des notables chargés des discours, des invocations et des prières propres à l'ethnie SIHANAKA comme RAZAFILAHY Jean, RANDRIANOTADIAVINA ou RAKOTOANTSAHA .Il y a aussi les devins sacrificateurs médiums des esprits des mages comme RANDRIANJAFINISAINANA à Tanambe et RANAIVO Charles à Ankitsika Andranomahavelona. Il y a enfin les animateurs et maîtres de cérémonies comme ANDRIANJA Dieu Donné ou RAZANATSOA Zoaly ou HITA Ral
Coopération:
-Pour l'organisation des cérémonies annuelles et surtout afin de financer les activités: coopération avec
les habitants des Fokontany (quartiers) de la ville de Tanambe, les autorités communales des Communes
de Tanambe, Vohitsara et Beanana, les députés et sénateurs élus dans la Région Alaotra-Mangoro, le
Ministère du Tourisme et de la Culture. Chaque année les membres de l'Asimbe collectent des cotisations
auprès des habitants de chaque quartier (Fokonolona) de Tanambe.De même au sein de la Commune, un
poste assez important du Budget est réservé à la tenue du VOLAM-BITA et du SARABE.
-Pour les relations extérieures coopération avec la Commission Nationale Malgache pour l'UNESCO et avec l'Office National des Arts et Cultures (OFNAC) :Déclaration d'existence et recherche de financement
-Pour la coopération avec les autres organisations qui s'occupent du patrimoine immatériel, l'Association
fait des échanges d'expériences avec l'Association Nationale des TARANAKA ANDRIANA (descendants de rois) d'Antananarivo, l'Association responsable du festival FERAOMBY d'Anororo, une commune voisine et avec les associations responsables des DOANY dans le voisinage.

Date de création: 1989
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
Folkland stands for the promotion of folklore with an aim to protect the intangible cultural
heritage falls in the genres such as folksongs, folk theatre, folk dance and other oral
practices along with traditional performances which are in the verge of extinction.lt
seeks to document, conserve and disseminate to the larger audience. Folkland's main
areas are conservation,documentation and transmission of intangible cultural heritage,
research on folklore.lt organises seminars, workshops and festivals to preserve and
promote the traditional art and culture.lt publishes reserch papers, books and
magazines.it btrings together people from India and abroad for artistic engagement. It
also organises dialogues between communities and peoples of different cultural
traditions.Folklad provides forum for artists,scholars in furtherance of the intangible
cultural heritage.Folkland engages in the work that enhances universal values of
multicultrism.Folkland learns inorder to teach the traditional art and cultural practices
and thereby pass on to the coming generation.

Activités:
INSTITUTION PROFILE
Folkland, International Centre for folklore and Culture is an institution registered on
20.12.1989 under the Societies Registration Act of 1860 vide the No 406189.During the
last 16 years it has passed through various stages of growth especially in the field of
performance, production, documentation and research besides the preservation of folkart
and culture.Folkland functions as
(l) An international Centre for folklore and culture
(2) As a Cultural Organization with clearly defined objectives and targets for
research and promotion of folk arts.
Folkland has branched and reached far and wide into almost every nook and corner of
the world. It has strived hard and treads the untrodden path with a clear motto of
preservation and inculcation of old folk and cultural values in our society.Folkland has a
credit of organizing many a festival on folkarts, workshop on folklore, culture, linguistics
etc.Seminars, discussions and symposia are also conducted and thus contributed in the
process of re-kindling the folk lamps, which has shed streaks of light into our past
treasure of knowledge.
Folkland has revitalized the old and extinct art forms like
Chimmanakkali,MangalamKali,Vannankoothu,Kurathiyattam etc with the assistance of
Dept of Culture,Govt of India and Sangeeth Natak Academy, Mew Delhi.Folkland has
veritable collection in the field of folksongs, Folk Art forms,riddles,fables myths etc which
are in the verge of extinction recorder and kept in the archives for scholastic endeavors
and posterity.
Folkland has already conducted workshops on Theyyam Costumes, myths, literature,
tribal arts, Poorakkali, Ethnomusic, folk handicrafts etc.Besides its annual festivals,
Folkland has a credit of hosting 17th Indian Folklore Congress at Trivandrum 23rd to
27th December 1996.
The main activities of Foikland falls under the performance, study and research on
folklore.Folkland has more than 600 Artistes in our roll comprised of Theyyam
,ThidanmpuNirtham, Poorakkali Velakali, Kolkali, Mangalamkali ,Oppana ,Daphu muttu,
Kalaripayattu etc.
Performance
Being the premier organization in the field of performance in the traditional art
forms,Folkland has been invited by several organizations and Departments like Zonal
Cultural Centres of Dept of Culture,Govt oflndia,Dept of Tourism,Sangeetha Nataka
Academy,Tourism Promotion Council and various other organizations
Research
Folkland has initiated several research projects during the last 16 years.Major among
them are Surwey, Documentation and Research on Kerala folklore, Art forms related to
floor-al drawings, fertility cult of Kerala,Different aspects of Theyyam,poorakkali etc.
Museum
Folkland has a museum of Theyyam with major Theyyam forms made in terracotta with
full costumes and ornaments. It has around 100 different facials drawn on the clay pots
and pulp effigies and kept in the museum. Apart from that, it has calendar of events and
a directory of artistes.
Honours
Three of our artistes were awarded for their best performance in the field of folklore by
the Kerala folklore Academy,Govt of Kerala during 2001-2002.
Website
Folkiand has launched a website on Kerala folklore under the domain name
.folkland.org.website was launched by Sri G.Karthikeyan, Hon.Minister for Culture,
Govt of Merala on 18th January 2003.
Award
Folkland has been selected for the State Award for the Best Performing Centre by the
Govt Of Kerala, Dept of Tourism for the year 2001-2002.
Training to the students
Folkland is extending training to 50 students in the field of poorakkali,kolkali,velakali and
Kalampattu.Out of the above students l 1 are getting scholarships from CCRT,Govt Of
India.
Documentation
Documentation of folk music and art forms,rare ritual arts is one of the major objectives
of Folkland. It has more than 3500 hours of folk songs and about 2600 hours of rare art
forms in the audio and video formats. Apart from that 8000 paper clippings and 4300
rare photographs in the archives. Considering the vast work in the field of
documentation,Folkland is made a member of reputed organization, Archive Resource
Community housed at Delhi.
Recognitions and Affiliations
Folkland has been recognized as an eminent Institution by the Dept of Culture,Govt of
India since 1999 and 17 of its artistes and one Guru1 Director have been given salary
by the Dept of Culture.lt has been affiliated to Dept of Handicrafts, Ministry of
Textiles,GOl. Besides that ,Folkland has been affiliated to the Kerala sangeetha Nataka
academy since 1995 and Nehru Yuvak Kendra since 2000.Folkland has become an
Associate Member of ClOFF in the year 2000 and has become the member of ARC in
the year 2000.Folkland has also been recognized by the Department of Anthropology
Norway University for their research pursuits.
Source of Funding
Folkland has been recognized by the Dept of Culture, Govt of lndia and has been
giving salary grants and production grants by the Ministry of Tourism and Culture.
Folkland has also been considered for grants by Govt of Kerala for several projects.
Performance charges and public contributions are our other sources of finance.
Administration
Folkland has governing body consists of a Chairman and Chief Executive Officer as its
head. There are five directors and a secretary to lead the team. Dr V.Jayarajan (Vice President Indian Folklore Congress and Advisor to Sangeeth Natak Academy, New
Delhi) is the chairman of the Governing body and Mr K.Suresh is the Secretary.Folkland
has an advisory board consists of eminent scholars and artistes of international
reputation. Sri Kavalam Marayana Panikker ( Vice Chairman,SNA) Dr. H.K.Bhat (Mysore
University), Dr Jawaharlal Handoo, (President I FC) are the present advisory board
members.
Chapters and Liaison Officers
Folkland has several Chapters in India apart from its regional office in
Karnataka(Mysore) Rajasthan, Assam,Meghalaya,Chatishgarh,Gujarath,
Tamilnadu,New Delhi,Goa,Punjab,Madhypradesh Chapters are functioning well.
Foljkland has Chapters in Saarc countries such as Nepal, Malesia, Bengladesh and
Pakisthan. Folkland has liaison officers working in countries like
France,Germany,Peru,USA.Swedan,Japan,Holland,USSR,UK and UAE
Coopération:
Folkland has woprked with several communities such as Mavilan, Vannan, Malayan,
Pulayan who are the Teyyam performers and practionioners of Magic, ethno music,
ethnomedicine and crafts.Mangalam kali , a unique pradce performed by a hill
tribe(indigenous community) was revitalised and its artist, a lady performer was given
distinguished membership by folkland when she appears on the media at her age
of100years.Folkland has also conducted her performances at different stages and
became instrumental to bring her state award instituted by Kerala folklore academy.
Folkland has documented around 3000 hours of folkpractces.another work in which
folkland has involved is the screwpine craft. It was undertaken by the women folk of
Pulaya community. Folkland has inspired them to revitalise the traditional crafts and
given training and also extended the insurance coverage to them.Another field in which
folkland involves is the manuscripts.Folkland has surveyed around 200000 palmleaf
manuscripts and started digitization process in order to protect the same. most of the
manuscripts are community based knowledges.

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Norvège

Objectifs:
The Norwegian Coastal Federation (Forbundet KYSTEN) is an organisation dedicated to the preservation of Norwegian coastal and maritime cultural heritage. Refering to the mission statement from the bylaws in the organisation the main objectives is: Promoting preservation of the general use of traditional vessels, buildings, facilities and the coastal environment in general, conducting informational activities to boost understanding of the value of human and cultural traditions for Norway’s coastal history, maintaining and developing traditions in industry and craftsmanship, seamanship and ways of life, and raising the professional standard of maintenance and safety in the use of vessels and facilities.
The motto of the Norwegian Coastal Federation (Forbundet KYSTEN) is “preservation through use”. This means that the focus on the safeguarding programs and activities is the intangible elements of the coastal and maritime cultural heritage
The federation Forbundet KYSTEN was founded in 1979. At the end of 2014, the Association have about
10 000 members througout Norway and 126 local branches along the whole coast of Norway.
Forbundet KYSTEN is the main voluntary organisation in Norway within the field of preservation of coastal and maritime cultural heritage.
The head quarter of the federation is located in Oslo wich give us the possibility to make close contact with politicians at a national level as well as promoting actions and program in collaboration with institutions like the Ministry of culture, associations for adult education, cultural and educational programs for museums, traditional craft associations and educational institutions.
The main activities is carried out by our local branches and is based on voluntary work wich is the foundation for almost all the work and activties. The local branches objectives is to preserve local maritime and coastal cultural heritage. They aim to create social network and communities around local maritime heritage. The local organisations work on local and regional assignments in accordance with the Federation’s statutory objectives. The local branches themselves determine their areas of focus, providing this is in accordance with the federation’s mission statement.
Activités:
The Norwegian Coastal Federation (Forbundet KYSTEN) is made up of 126 local branches that are based all along the Norwegian coast. Its activities are primarily concerned with local traditions and cultural heritage.
There are two classes of membership in our organisation: full members and youth members (up to 26 years of age). Most full members are individuals, but our list of full members also includes museums, schools and other associations. Approximately 90 per cent of our membership is accounted for by members of our 126 local branches, which are spread out along the entire coast of Norway. The remaining 10 per cent are direct members of the central federation. The total number of members is 10012. Both the number of local branches and the total membership have increased steadily year-on-year since the federation was established in 1979.
The Norwegian Coastal Federation (Forbundet KYSTEN) is a democratic membership organisation. The national congress is the executive body, consisting of delegates from all of the local branches. The national congress elects the national executive. Each of the local branches can send one delegate to the national congress. Decisions are also made at the national congress regarding strategy, action plans and budgets.
Our Magazine ”KYSTEN” (”The Coast”) is published with 5 copies per year and goes automatically to all members as well as to a large number of museums, schools, craft producers and others.
The local branches are responsible for most of our activities. These are wide and varied in nature, though with an emphasis on maintaining, transferring and developing knowledge and skills within the fields of coastal culture and maritime intangible cultural heritage. Here are some examples: preservation and use of historical boats (from small rowing and sailing boats to historically significant sailing ships and steamers); documentation and recording of both tangible cultural monuments and procedural knowledge about maritime cultural heritage; the practice and passing on of traditional handicrafts and skills such as boatbuilding, sail making, rope making and rope work and textile traditions; antiquarian (both practical and theoretical) knowledge about the restoration, maintenance and construction of vessels and buildings (such as lighthouse stations, harbour buildings, boathouses and historically significant shipyards and boatyards); traditional seamanship and navigation; sailing; rowing; knowledge about coastal waterways and landmarks; songs and musical traditions from the coast; rituals and social gatherings (e.g. when launching and landing boats); the oral storytelling tradition along the coast (both collection and presentation); care and maintenance of old steam-powered engineering; practical knowledge about the operation of larger vessels; rigging of sailing ships; food traditions at sea, etc.
Many of these activities are organised as courses in partnership with our own study association (Studieforbundet kultur og tradisjon), in compliance with the regulations and guidelines contained in the Norwegian Act on adult education. This also means that the courses are prepared in accordance with the methods and practice of Nordic adult-education tradition, which emphasises non-formal education, participant-led and democratic access to learning. Our courses emphasise the procedural transfer of action-borne knowledge as their central method. According to the strategy we have adopted, the main objective of the study association is that “it should be possible for everyone living in Norway to become familiar with and learn about cultural expressions and folk traditions in a constructive and secure environment of fellowship”.
The organisation has six employees at central level: five who make up the administrative office, based in Oslo, plus the editor of our periodical, KYSTEN. These employees possess specific technical knowledge relating to their areas of responsibility, including history, ethnology, anthropology, journalism and communication. However, the most important technical expertise is found at local level. In many coastal communities, our local branches are the only remaining groups that possess and are passing on knowledge and skills within the field of intangible maritime cultural heritage.
The local branches arrange regular trips, expeditions, gatherings and festivals in partnership with the municipalities and other local organisations working to preserve cultural heritage.
The central organisation of the Norwegian Coastal Federation arranges regional and national courses, conferences and specialist gatherings, often in partnership with regional and national cultural authorities, experts and craftspeople.
The Federation’s national convention, organised as a maritime festival, takes place annually over four days in July. This event gathers together traditional boats and ships from all along the Norwegian coast, as well as visiting vessels from other countries. At the convention, there are technical lectures and seminars, and practitioners of traditional maritime handicrafts meet to exchange information and hold workshops.
Coopération:
The local branches bring together members and active specialists who possess important knowledge and skills relating to local maritime intangible cultural heritage. The activities can be described as learning in local practising communities, with the local tradition bearers and practitioners of traditional handicrafts playing an important role in the transfer of knowledge. Almost all of the local branches include key local tradition bearers and practitioners of traditional handicrafts. Many of the tradition bearers represent traditional knowledge that has been passed down through many generations. In the case of some of the specialised fields, such as boatbuilding, this traditional knowledge may go back as far as 300 or even 500 years.
Many of our local branches work together with local coastal and maritime museums around the coast, with members taking an active part in work to preserve their boat collections and buildings. We have developed a collaboration model under which our members take care of the practical knowledge relating to these cultural monuments, with an emphasis on sailing, rowing, active use, communication and knowledge transfer. We now have an opportunity to further develop this collaboration model, as the Norwegian Ministry of Culture has recently given the museums administrative responsibility for the intangible aspects of cultural heritage within their fields.
Last year, the Norwegian Coastal Federation and UiT, The Arctic University of Norway in Tromsø, took the initiative to develop the “Centre for Outstanding Boatbuilding”. For almost 20 years, the University has employed a traditional boatbuilder, who has worked to pass on traditional knowledge about boats from northern Norway. Now the intention is to set up a centre with national responsibility for transferring traditional knowledge relating to the most important local and regional boat types in Norway. The centre has created affiliations with traditional boatbuilders within the various boatbuilding traditions, and emphasis will be placed on the practice of traditional boatbuilding, as well as the documentation and recording of local handicraft techniques. The University acknowledges the high level of expertise and the complex knowledge represented by traditional boatbuilding.

Date de création: 2000
Budget: U.S.$632
Domaine(s):

- oral traditions and expressions
- performing arts
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement

Objectifs:
Mongolia is the birthplace of nomadic culture and civilization that has the history of thousands of years. We have been engaging our activities with the purpose to protect, recreate study and introduce the historical and cultural prides of Mongolia, and to train human resources in the cultural heritage sector within the framework of activities of the Mongolian government and diverse projects of various stakeholders to protect historical and cultural heritages. Our slogan is “Let’s protect the historical and cultural valuable heritages of our nation and transmit them to our next generations”
Since unique and rare materials and intellectual heritages created by the Mongolians are great pride of Mongolia and also part of the worldwide cultural heritages, we aim to promote our heritages in the world.
One of our most important goals is to organize various kinds of activities and events to raise public awareness on the cultural and historical valuable heritages of Asian countries and worldwide.
Objectives of our Foundation include:
- To protect, recreate, introduce and study the unique, rare, materials, intangible and intellectual heritages on the basis of scientific researches,
- To publicize and promote historical and cultural sites among international and domestic organizations
- To contact and engage cooperative activities with the same kind of international organizations for extending our foreign relations in the field of cultural and historical heritage
- To qualify and propagate the intellectual creations made by children and young people in cultural heritage field

Activités:
We engaged in the activity to register the cultural and historical sites in the Orkhon valley to the World Heritage List, and our foundation and “Foundation for Promotion of the World Heritage” of Germany jointly organized the national seminar “Management issues on the cultural and historical sites in the Orkhon valley” in 2003.
Our Foundation and “Foundation for Promotion of the World Heritage” of Germany have jointly implemented the project to recreate and signpost the tourist/guest path to the Tuvkhun monastery, established by Undur Gegeen Zanabazar in 17th century. Tuvkhun Monastery is located in a natural scenic place, which is historic and cultural site and part of the world heritage as well.
Our Foundation and Japanese Clubs/Associations of the UNESCO have successfully organized the “Picture Festival for the Asian Children” among the children of 24 Asian countries, twice through the years of 2000 – 2002, 2003 – 2005 in Mongolia with the support of the Mitsubishi Corporation.
Japanese Association of the World Heritage and our Foundation successfully conducted the “World heritage of Asia”, the ten-days Mongolian and Japanese Forum Trip in the cultural sites of the world heritage in the Orkhon valley, and in the Great Gobi desert in June 2005.
Since 2005, we have been playing an active role in the procession and implementation of the projects for identifying, safeguarding and transmitting the intangible cultural heritage and its bearers. For instance, we elaborated the project proposal for the inventory making of the intangible cultural heritage of Mongolia in cooperation with the Mongolian National Commission for UNESCO.
We have members who become a shining example for the young generations of our foundation with their excellent skills and experiences possessed as a result of efficiently working in the various sectors of cultural heritage field for a long period of time (from 30 to 44 years). For example, Dr. Urtnasan.N, President of Association of Mongolian Long Song, and Mr. Yundenbat.S, Executive Director of Mongolian National Center for the Intangible Cultural Heritage. Mr. Urtnasan.N is an author and co-author of “Historical and cultural monuments and sites in the territory of Mongolia” (1999), “Conservation of immovable historical and cultural heritage in Mongolia” (2006), “Cultural history of Mongolia” (2002) and “History and culture of the Mongols” (2004), “Orkhon Valley Cultural Landscape: World Heritage site” and “Sacred Sites in Mongolia and biodiversity conservation” (2007). Mr. Yundenbat has written number of articles, books and is a producer of the following documentaries: Mongolian Traditional Music Instrument: Morin Khuur (2003), Mongolian Traditional Song: Urtiin Duu (2005), Chingges Tengeriin Toin (1999), Melody of Galbinga (2001), Melody of Tsuur (2006).
Currently, we are taking measures to create a database of the Mongolian long song-singers and develop their repertory in cooperation with the Association of Mongolian Long Song.
Executive Director of Mongolian National Center for the Intangible Cultural Heritage. Mr. Urtnasan.N is an author and co-author of “Historical and cultural monuments and sites in the territory of Mongolia” (1999), “Conservation of immovable historical and cultural heritage in Mongolia” (2006), “Cultural history of Mongolia” (2002) and “History and culture of the Mongols” (2004), “Orkhon Valley Cultural Landscape: World Heritage site” and “Sacred Sites in Mongolia and biodiversity conservation” (2007). Mr. Yundenbat has written number of articles, books and is a producer of the following documentaries: Mongolian Traditional Music Instrument: Morin Khuur (2003), Mongolian Traditional Song: Urtiin Duu (2005), Chingges Tengeriin Toin (1999), Melody of Galbinga (2001), Melody of Tsuur (2006).
Currently, we are taking measures to create a database of the Mongolian long song-singers and develop their repertory in cooperation with the Association of Mongolian Long Song.


Coopération:
The Foundation for Protection of Historical and Cultural Heritage has close cooperation with the bearers of the intangible cultural heritage, such as long song-singers, throat singing-singers, and epic singers and so on. We conducted case studies on the bearers of intangible cultural heritage in 2006-2007 and published the report book 'Mongolian rituals, manners and festivals'.
There are number of governmental and non-governmental organizations we cooperate with, such as the Ministry of Education, Culture and Science of Mongolia, Mongolian National Commission for UNESCO, Mongolian National Centre for the Intangible Cultural Heritage, Association of Mongolian Long Song, Mongolian Cultural Studies Association, and etc.
We are engaged in the activities (such as identifying the bearers of intangible cultural heritage and creating inventories) being implemented by the Mongolian National Commission for UNESCO within the framework of the project 'Implementation of UNESCO 'Living Human Treasures' System in Mongolia' with the support of Intangible Cultural Heritage Center for Asia and the Pacific. Moreover, we got engaged in the elaboration of the 'List of Types and Forms of Intangible Cultural Heritage in Mongolia' with the relevant bodies and submitted to the Ministry of Education, Culture and Science of Mongolia for further approval. We also cooperated with he Mongolian National Commission for UNESCO on the elaboration of the nomination file for 'Mongol Tuuli: Mongolian Epic’ for the inscription on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding.
Furthermore, we aim to continue our active involvements and efforts for compiling and publishing the inventories on the protection of historical and cultural heritages in Mongolia, preparing the nomination files to register petrography of Mongolia in the World Heritage List, compiling data on the Mongolian sacred mountains, and publishing manuals and instructions on survey to safeguard the Mongolian intellectual heritages.

Date de création: 1935
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
La Fondation INATEL est gouvernée par ses Statuts et en accord avec son article 5 :
« La Fondation a comme buts essentiels la promotion des meilleurs conditions pour
l'occupation du temps libre et du loisir des travailleurs, en activité de service et retraités,
en développant et en valorisant le tourisme social, la création et la jouissance culturelle,
l'activité physique et sportive, l'inclusion et la solidarité sociale ».
Et d'après le Decret-Loi nO 106/2008, du 25 Juin qui a institué la Fondation INATEL :
« Tout en préservant sa nature originelle, la Fondation INATEL développe son activité
dans tout le territoire nacional, elle est chargée de l'administration d'un important
patrimoine, constitué essenciellment par des équipements hôteliers, culturels et sportifs,
consacrés à la prestation d'un vaste leque de services dans les domaines de l'hôtellerie
et du tourisme social, du termalisme social, et senior. La Fondation appuie également la
promotion de la culture traditionnelle (groupes folkloriques, sociétés philharmoniques,
orphéons, groupes chorales et de théatre amateur), le développement du sport amateur
et ses mouvements associatifs, la concrétisation du droit au repos et loisir des
travailleurs et la promotion de programmes et initiatives d'inclusion et de solidarité
sociale qui concernent surtout les jeunes et les plus âgés »
Activités:
Dans le domaine de la culture nous allons enumérer les activités qui traduisent la
politique culturelle de la Fondation INATEL et démontrent ce qui est fait dans le domaine
de la sauvegarde du patrimoine culturel immatériel. Ces activités sont annuellement
inscrites dans le Plan d'Activités, Budget et Investissement.
La politique de la culture, dont la Fondation INATEL est chargée, se développe em 6
aires thématiques:
1. Formation d'Associés et membres de CCD (Centres de Culture et Sport) ;
2. Concours de Créativité;
3. Plans Nacionaux d'Appui aux CCD ;
4. Editions de Livres;
5. Grands Événements;
6. Relations Internationales.
1. Dans le domaine de la Formation, des actions de formation sont développées, dans
les aires comme l'Etnographie et Folklore, la Musique et Théatre.
En ce qui concerne l'Etnographie, un Cours d'Instruments Populaires a lieu. Nous avons
également des actions de Formation Regionale d'Etnographie et Folklore.
En ce qui concerne la musique nous avons plusieurs cours:
Le Cours National de Direction Chorale et Technique Vocale; Des Masterclasses
d'Instruments Régionaux de Flute, Clarinette et Saxophone, sont aussi développés; Un
Cours Regional de Réparation et Maintien d'Instruments.
Dans le domaine du théatre, des actions de formation qui sont indispensables à la
valorisation des groupes de théatre amateur sont développés.
2) Dans le domaine des Concours de Créativité, nous avons de nombreux concours, qui
sont les suivants:
Le Concours de Vidéo; Le Concours Nacional d'Etnographie ; Le Concours de
Composition; Le Concours de la Fondation INATEL! Théatre - Nouveaux Textes.
3) La Fondation INATEL développe reguliérement et depuis plusieurs années un Plan
Structuré d'Appui qui englobe l'Etnographie, les Editions, la Musique et le Théatre
amateur et autres évenements culturels comme par exemple le folklore. Ce Plan National d'Appui constitu un élement essentiel dans la relation directe avec les Centres
de Culture et Sport (CCD's), qui sont actuellement environ 1.300 dans l'aire de la
culture, et englobent les syndicats, les associations de travailleurs, les personnes
morales de droit publique, les maisons du peuple, les associations humanitaires, et ce
Plan, dirigé exclusivement à ces derniers, leur permet l'obtention de moyens essentiels
à leurs activités culturelles, comme appuis financiers pour l'acquisition de costumes et
chaussures, instruments musicaux ou équipement nécessaire pour la production de
piéces théatrales. Ces relations startégiques de la Fondation 1NATEL avec les CCD
permet, non seulement le développement régional, mais aussi le développement
d'activités traditionnelles, dans le domaine de la culture populaire et de la préservation
de traditions.
Nous avons par exemple, plusieurs projets de niveau national qui visent appuyer les
groupes etnographiques en ce qui concerne les costumes, les chaussures et
instruments musicaux.
4) En ce qui concerne les Editions de livres, la Fondation INATEL a des editions
historiques dans le domaine de l 'Etnographie que nous allons enumérer :
- "Traditions Populaires 1 et Il''
-«Colloque sur la Musique Populaire Portugaise»
-«Étude sur le Chant de la Région de Alentejo»
-«Le Costume Regional au Portugal »- Auteur : Tomaz Ribas (edition Difel)
- «L'Art du filet de pêche» - Paradigme Ecologiquel Travaill Techniques de Navigation 1
Jet -par Professeur Universitaire Manuel Fidalgo
- «La culture Traditionnelle de 1 État Nouveau»- Auteur: Professeur Universitaire Joao
Lopes Filho
-"Chansonnier de la Région de Cova da Beira"- volumel et IV- Auteur: Ma da Ascençao
Gonçalves Carvalho Rodrigues).
5) La Fondation INATEL réalise également les Grands Évenements qui sont, par
exemple, les suivants:
- Les Promenades Culturelles; Les Rencontres et Expositions Etnographiques.
Il y aussi des representations de Traditions Populaires, comme par exemple, les «
Cantares de Janeiras e de Reis» (Pour célébrer le nouvel an) ; les Fêtes de Carnaval.
6) Dans le domaine des Relations Internationales, la Fondation INATEL, integre le
Conseil International des Organisations de Festivals de Folklore et d'Arts Traditionnels
(CIOFF) comme Organisation Non Gouvernementale auprés de l'UNESCO.
Dans le cadre de la musique, la Fondation INATEL, intègre la Confédération
Internationale des Sociétés Musicales et la Union européenne des Musiciens
(CISM/UEM).
Dans le domaine du théatre, la Fondation INATEL posséde le Théatre de la Trindade qui constitu depuis 45 ans, l'offerte culturelle permanente de la grande Lisbonne, dans les
domaines, non seulement du Théatre, de l'Opéra, de l'Opérette, de la Zarzuela, du
Cinema, du Chant, de la Danse, du Fado, des Spectacles Populaires, de l'Etnographie,
du Folklore. Lie théatre est actuellement le siége de la Compagnie Portugaise d'Opéra.
Coopération:
La préservation du patrimoine culturel immatériel et l'encouragement de nouvelles
habitudes de satisfaction des biens culturels constituent les objectifs de la Fondation
INATEL.
Si, d'une part, la Fondation INATEL assume la responsabilité sociale de promotrice
d'une tradition culturelle centrée en deux vecteurs fondamentaux - formation et appuis
structurés aux Centres de Culture et Sport (CCD's) - d'autre part, elle s'assume aussi
comme agent dynamisant de nouvelles pratiques, qui accompagne une société de plus
en plus exigente et médiatique.
Dans cette perspective, la Fondation INATEL, prétend continuer sa politique culturelle
de préservation et constante adaptation à une société en changement, et qui exige
diversité et multiplicité en ce qui est de plus en plus important dans la formation de la
personne humaine - l'immatériel, qui nous donne de la joie, nous amuse et transmet
des connaissances, et nous aide à donner un sens à notre existence.
Dans ce sens la coopération, dans un esprit de respect mutuel avec les communautés,
les groupes, les individus, qui atravers leurs actions ont une pratique de défence de la
culture immatérielle, est une constante, d'où ressortent les CCD- Centres de Culture et
Sport- qui dans le cadre de la Fondation INATEL font un recueil et des représentations
etnographiques, des enregistrements des traditions populaires et des rituels, et dans
l'époque technologique dont nous traversons, la préservation de traditions orales

Date de création: 1991
Domaine(s):

- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
• Contribute to solving the problems of cultural, social and ecological environments in the
country, through the promotion of integral processes in the student, academic and
community fields.
• Promote and advance scientific and technological research, especially in the
archaeological, architectural, biological, geographical, historical and social areas.
• Provide advice and cooperation in scientific or technological research advanced or
promoted by other persons or entities.
• Disseminate and manage knowledge on cultural heritage, in its archaeological,
architectural, ecological, histroical and social aspects, through written publications,
databases, audio or visual media, exhibitions and lectures open to the public.
• Provide advice and cooperation for the maintenance, preservation, restoration,
building, managing and safeguarding of the intangible and material cultural heritage in its
archaeological, architectural, ecological, natural, historical and social aspects.
With these objectives, the foundation has developed a framework for working towards
the safeguarding of the intangible heritage which is expected to contribute specifically to
the identification, documentation, research, preservation, protection and enhancement of the intangible heritage. Similarly, the efforts to promote solutions to the problems of the
country and the scientific and technological research in various areas have been
expanded to examine these areas from the issue of intangible heritage, serving also to
support its preservation.
Activités:
Monika Therrien. Director. Anthropologist and Master in History. Professor of the
Master's degree of Cultural Heritage and Territory and of the Specialization in
Conservation of Architectural Heritage. Project manager of the Erigaie Foundation. At
the moment she coordinates research on the impact of the policies of intangible heritage
for the MIA Cultural Heritage Observatory, on industrial heritage with the project 'Fábrica
de Loza Bogotana' and the relation between heritage and tourism in Villa de Leyva.
Germán Ferro. Investigator. He has work with the communities of the Department of
Huila in the development of research projects on cultural heritage in which he involves
the Colombian histrorical and regional context, using the assessment of local cultural
processes as main teaching tool, involving the communities as watchers and managers
of their own resources. Director of projects as "cultural inventory of Huila"; "travel to the
holy places of Huila".
Carlos del Cairo and Catalina García. Researchers. Coordinators of the research area
related to maritime and underwater cultural heritage in which framework have been
carried out projects such as "The Plan for awareness for the protection of underwater
cultural heritage, phases I and", the international Seminar on "Maritime Tierra Bomba"
and memory places in the township of Tierrabomba", focused on working with the
coastal and island communities and the recovery of the fishing traditions of the island.
Alvaro Santoyo and Mónica Hernández. Investigators. Alvaro Santoyo has worked since
1999 in the analysis of what the Colombian elite thinks about the Amazon area, and
since 2003, in issues related to memory, mithology, social organization and education in
Amerinidian societies of Vaupés. Mónica Hernández for her part, has developed projects
on spatial and territorial configuration in the Colombian Pacific. They both work on the
project "MIA (Material, Intangible and Archaeological) Cultural Heritage Observatory, in
the first phase of which they analize the impact of the heritage declarations in the case
of two populations, both, at the community level and the process of formulation of public
policies for these populations.
Coopération:
In developing projects for the protection of cultural heritage, the Foundation has
supported the creation of local NGOs "ALCAESPO" and "Buceadores de la historia de
los cañones (Divers of the history of the cannons)" made up of mothers who are heads
of families and groups of fishermen from the island of Tierra Bomba, for the local
management of the maritime resources of the island. Through the signing of agreements
with these organizations, the Foundation ensures cooperation between the institutional,
the local and the academic sectors for the implementation of initiatives for the study,
protection and dissemination of the Intangible Cultural Heritage in coastal areas and
islands.
The development of joint projects with the Terra Firme NGO, formed by researchers
supported by the Erigaie Foundation, has allowed the generation of opportunities for
dissemination of the projects related to the Intangible Cultural Heritage at national and
international levels, by young researchers and professionals working in the field.
The development of the Seminar on Intangible Heritage "management, participation and
action" held in April, 2009, was conceived as a space for theoretical debate, analysis
and work methodologies on the Intangible Cultural Heritage. This is done with the
participation of Colombian and foreign researchers who presented their case studies and
perspectives from which they have been addressed. Additionally, in four days were
presented experiences of managers, public officials and leaders of organizations to
identify and understand local contexts and the problems and challenges faced in the
formulation of public policies and action plans relating to cultural heritage and its
implementation and impact on local and regional authorities.
Through the implementation of valuation and empowerment methodologies of local
cultural resources it has been possible to involve communities from some municipalities
of the Department of Huila, as watchers and managers of the material and intangible
heritage.
The MIA (Material, Intangible and Archaeological) Cultural Heritage Observatory, has
been formed as a line of research devoted to the study of the discursive construction of
heritage and the production of relevant knowledge to act as a consultative body in the
formulation of public policies related to the indicated topic.

Date de création: 1995
Budget: U.S.$260000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- other
- Support the work of the Cuban National Commission for UNESCO and the Regional Office for Culture in Latin America and the Caribbean of UNESCO, based in Havana, with respect to intangible cultural heritage. Additional information: Investigations, studies, publications and courses on the cultural patrimony live (intangible or immaterial).

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- other
- Support for the activities of the National Council of Cultural Centers in living cultural expressions and art teachers and instructors, as well as the National Council of Cultural Heritage Ministry of Culture regarding intangible cultural heritage. Additional information: Participation in the National Commission for the Safeguard of the Immaterial Cultural Patrimony of the Ministry of Culture of the Republic of Cuba; systematic cooperation with the Regional Office of Culture for Latin America and the Caribbean of the UNESCO, Havana, Cuba; and in the International Scientific Committee of the Project UNESCO The Route of the Slave related with the Cultural Patrimony Lives (Intengible or Immaterial).

Pays principaux d'activité:

Aruba, Bolivie (État plurinational de), Cuba, Équateur, Haïti, Mexique, République dominicaine, Venezuela (République bolivarienne du)

Objectifs:
a) Disseminate the work of Fernando Ortiz;
b) Deepening scientific issues addressed in his work;
c) Expand the range of topics of his scientific work;
d) To organize seminars, conferences and postgraduate courses on aspects of Cuban culture, Caribbean and Latin American;
e) Organize cycles ethnographic film nationally and internationally;
f) To publish a biannual journal on issues of anthropology, which bears the name "Cataure, anthropology Cuban magazine"
g) publishing the works of Fernando Ortiz;
h) Develop research on traditional folk culture of Cuba and the rest of the world, theoretical and practical utility for the development of social sciences and humanities;
i) cooperate in the conservation and preservation of material referred to the life and work of Fernando Ortiz;
j) Conduct educational activities aimed at PhD students, degree programs, professional and Cuban and foreign students and
k) award prizes and scholarships to students of the work of Fernando Ortiz, in correspondence with the calls to be made to that effect.
Activités:
Fernando Ortiz Foundation, is a Cuban cultural institution of public and civil, non-governmental, legal personality and its own non-profit. It is governed by the Civil Code of Cuba and has its own laws. Its principal aims are the study and dissemination of life and work of Cuban scientist Fernando Ortiz, and to encourage the development of scientific research on Cuban cultural identity. Its body relation to the Ministry of Culture of the Republic of Cuba.

In order publishing the Foundation has several collections of books, maps, magazine and annual newsletter. Fernando Ortiz Collection (12 works), is dedicated to the works of Fernando Ortiz and works, essays and articles related to the study of literature. In this collection edited Ortiz unpublished texts that remain in your personnel file. Viva La Source Collection (32 books), published studies devoted to Cuban culture and thought and the Caribbean, popular expressions and identities. Groove Collection (5 books), brings together the texts of seminars, conferences, workshops and seminars convened by the Foundation Fernando Ortiz and publishes works of prominent thinkers anthropologists nationally and internationally. It has also other publications, cartographic Folding (9 works) and Cataure. Journal of anthropology (20 magazines) The magazine was recognized as a journal of social sciences by the Ministry of Science, Technology and Environment of the Republic of Cuba.

Since 1998 the institution awarded the International Prize by Fernando Ortiz's work life to leading figures and institutions and other countries that have been dedicated to cultivating cultural research or folk art from Latin America and the Caribbean.

Every two years competition afforded Grant research projects Fernando Ortiz with the aim of promoting and publishing new works of cultural and institutional. Biennial basis also teaches a Diploma in Anthropology, in coordination with Centre for Overcoming the Culture Ministry and the Ministry of Higher Education, which has had teachers from Belgium, Canada, Cuba, Spain, USA and Mexico. It has six teaching modules and 240 hours of classes, lectures and seminars.

Since its inception the Foundation chairs and coordinates the UNESCO Project Cuban Committee for the Slave Route and its President is part of the International Scientific Committee and has supported the work of the Dominican Republic, Haiti, Mexico, Argentina, Uruguay and Paraguay.

Each year is given, in coordination with the Cuban Book Institute, the Cuban Cataure Award for the purpose of rewarding a book to be published in the year of the call and to address the issues of ethnology, anthropology, traditions and popular culture topics traditional.

There have been five "Ethnographic Cinema" with the aim of providing an overview of the films of interest for studies of cultural identity with pieces that reflect significant aspects of key issues relating to manifestations of religion, folklore, traditional music, festivals popular, and others who respond to the unique acculturation produced multi-ethnic components of the three continents that are based on the island in coordination with the Cuban Institute of Cinematographic Art and Industry (ICAIC), the Cuban Institute of Radio and Television (ICRT) and the International School of Film, Radio and Television of San Antonio de los Baños, have developed these important activities. On this basis, each cycle promotes dialogue between Cuban and foreign specialists on these materials, with emphasis on the analysis of its aesthetic and ethnological as well as the work of major filmmakers and researchers in the field.

Together, the Foundation Fernando Ortiz welcomes students and doctoral students from other countries to stay in research, teaching and training. So far have been treated young researchers from the following countries and institutions: Canada, Scotland, USA, Italy, Japan and Norway.

Fernando Ortiz Foundation since 1995 has made several national and international events on issues of culture has been able to publish and disseminate while the Sunday radio program Folk Art through Radio Taíno.

Additional information:
The Fernando Ortiz´s Foundation presides and coordinates the Cuban Committee of the Project UNESCO the Slave's Route from its creation in 1994 whose work was evaluated very satisfactorily by the President of the Executive Council of the UNESCO, Mr. Olabiyi Babalola Joseph Yäi and their permanent assistant Mr. Edmond Moukala. Specialists of the Foundation participate in the elaboration of files of proposals of the Works Teachers of the Oral and Immaterial Patrimony, as well as in the sostenibilidad Shops like that of the Tumba Francesa. They also participate in the cataloguing of groupings of the cultural live´s patrimony in the whole country. Specialists of the Foundation have been consultants of the UNESCO in Bolivia, Cuba, Ecuador and Dominican Republic; and their President has been Member of the Executive Council of the UNESCO during eight years. Specialists of the Foundation collaborate with the National Council of Houses of Culture in the study and attention to the institutions of expressions of the traditional popular culture with patrimonial values. We have also participated in the elaboration of the multimedia it has more than enough Places of Memory of the Slave's Route in the Latin Caribbean (Cuba, Haiti, Dominican Republic and Aruba) that for the first time combines the built cultural patrimony with the cultural live´s patrimony (intangible or immaterial). The Foundation has also participated in the gestation of the project of the UNESCO The Route of the Cocoa, in Emeralds, Ecuador, whose content includes the accumulated knowledge. A part of the collection of books The Alive Source of the Foundation has been dedicated to the popularization of the cultural live´s patrimony such as: Décimas rescatadas del aire y el olvido (vol. 5, 1997); El Romance en Cuba (vol. 7, 1999); La décima constante (Vol. 8, 1999); El culto de San Lázaro en Cuba (vol. 10, 2000); Carta de Chamada (vol. 11, 2000); Oraciones populares de Cuba, invocaciones e iconografía (vol. 13, 2001); El espiritismo de cordón (vol. 14, 2000); La parranda (vol. 15, 2000); Tras las huellas de las civilizaciones negras en América (vol. 19, 2001); Gallos y toros en Cuba (vol. 21, 2002); and Los remanentes de las lenguas bantúes en Cuba (vol. 23, 2002). In a same way, diverse numbers of the Cuban magazine of anthropology «Catauro», they have been dedicated to publish diverse aspects on the culture of the sugar, of the tobacco, of the coffee, of the sea and of the hurricane that include topics on the cultural live´s patrimony.
Coopération:
Fernando Ortiz Foundation, has had extensive collaboration with UNESCO and other institutions in the field of intangible cultural heritage.

Part of the Committee for the Safeguarding of Intangible Cultural Heritage of the Ministry of Culture and has participated in collective work such as:

• Preparation of documentation for the establishment in Cuba of the Living Human Treasures System.
• Preparation of documentation for the proposal to UNESCO for the nomination of "Readers and viewers of cigar, pillar exceptional Cuban cultural tradition: communication link between the past and the future."
• Development of indicators for updating the national inventory of musical and dance performances clusters carriers of cultural traditions heritage.
• Publication for schools for art instructors of "traditional folk culture in Cuba shared experiences" (2009, 190 pp.)
With the Cuban National Commission for UNESCO has helped to support the implementation of multimedia Slave Route, for schools associated with the project Breaking the silence of UNESCO.
With the Regional Office for Culture in Latin America and the Caribbean, UNESCO also participated in many activities such as:
• Systematic support to Oralidad from creation to the present, which already has 16 numbers. This collaboration has been through articles, reviews and the general wording of certain issues of the journal.
• The President of the Foundation was a member of the Executive Board of UNESCO and the International Scientific Committee of the Slave Route Project.
• One of the Members of the Advisory Board has been UNESCO in Bolivia, Cuba, Ecuador and Venezuela, Coordinator of the National Committee of the Slave Route Project, especially linked to the intangible cultural heritage.
• First Meeting of the Regional Network of Research Institutions on Afro-American Religions, Hotel Nacional, Havana, 1-2 March 2004.
• Workshop of Experts for the adaptation of the Seal of Excellence applied to the craft to the Audiovisual Award of Excellence Indigenous and Community. Foundation for New Latin American Cinema and Cultural Organization Regional Office for Latin America and the Caribbean, UNESCO, 22 and September 23, 2008.

Additional information:
The Foundation participates in the activities advisers and investigative of the National Council of Houses of Culture that assists to the groupings and communities possessors of own cultural traditions. It also participates in the Festival of the Caribbean in Santiago de Cuba, dedicated annually to a country of the Caribbean; in the Festival of African Roots " Wemilere ", dedicated annually to a country of África; in the National Fair of Popular Art and other events derived directly of the work in the communities. Also has bonds with the net of museums related with the Project the Slave's Route, as well as with the events that they generate. Specialists of the Foundation participated in the elaboration of the System of Alive Human Treasures of the Ministry of Culture to implement like part of the protection politics to these expressions. The Foundation has participated in the community social work with three projects related with the six Working Groups of the Slave's Route, such as the visibility of the immaterial cultural patrimony in Trinidad of Cuba (Cultural Patrimony of the Humanity); the community of the old one sugar factory Álava, in Colón, Matanzas; and the culinary culture of African origin in the community project of Marianao, Havana. Specialists of the Foundation have been part of the jury of the prize “Alive Memory” that grants the Institute of Cultural Investigations Juan Marinello and the “National Prize of Community Culture” that it grants the National Council of Houses of Culture, like recognition to the community cultural work. The Foundation has participated in the professional preparation of the Master in Community Social Work that favors the Superior Institute of Art and in three Masters in Sociocultural Anthropology that favors the University of Havana whose topics include the community cultural work. In a same way it has participated in the creation of anthropology classes in the universities of Matanzas, Camagüey and Holguín. Annually the Foundation gives the “Prize Cuban Catauro” to works related with its work profile and several of those prizes they approach the community topic.

Date de création: 1999
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Congo

Objectifs:
Etant une organisation autochtone de droits de l'homme, l'aspect culturel est partie intégrante de l'univers autochtone BATWA qui englobe les traditions et pratique BATWA, le savoir traditionnel et les connaissances et expressions lingustiques. C'est pourquoi notre objectif bine qu'humanitaire, mais est au delà culturel en vue de promouvoir cette culture brisée par le poids de la civilisation occidentale (modernism), en vue de la sauvegarde, la transmission et la révalorisation de ce patrimoine culturel moyennant de larges moyens de diffusion.

Date de création: 2000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Documentation and restoration of the built heritage of Goa

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Actual architectural conservation

Objectifs:
We work to bring about awareness of our region's man-made and cultural, tangible and intangible heritage properties, sites and circumstances. We strive to do this through nonintrusive and participatory conservation programmes that are based on a respect for local traditions and sensitivities.
We aim to carry out inventories of such properties, sites and zones in our region (Goa, India) so that an archive of intangible cultural properties, sites and knowledge and skills may be built and understood. We aim to place this archive of knowledge in the public domain so that government and public can take ownership of our region's endangered creative traditions and expression.
We believe firmly in working with structures of governance and of community to plan for the conservation of our intangible and tangible heritage, to advocate protective legislation that will enable our society to preserve, document and find apt and respectful contemporary uses for such properties and sites.
We aim to work on a judicious mix of highly visible properties and sites in our region, so as to achieve awareness of our aims and methods, and then to sensitise both the community and the local government to adopt methods to integrate the safeguarding of such heritage.
We are committed to tracing the cultural and social traditions that lead to the rediscovery and rehabilitation of artisans and craftspeople who possess knowledge and skills that are waning or in disuse; we foster the development of teaching programmes that revive forgotten skills and reopen repositories of cultural knowledge. In so doing, our group actively seeks out former centres of such activity and finds appropriate and sympathetic
methods to promote, enhance and transmit their value to society.
We work with existing government and non-government agencies in a spirit of partnership and positive professional engagement. Our focus in such work is to ensure the durability of our cultural traditions in the communities from which they emerged, while aiding the provision of livelihoods to their practitioners, encouraging creativity and fostering adaptation.
Activités:
2000 October : prepared a list of 500 heritage houses at the request of the Government of Goa.
2000 November: Goa Heritage Festival held with lectures, an exhibition on Houses of Goa, skills demonstration by several artists and artisans, performances and interactive sessions on art and culture of Goa and a publication.
2000 December: Registration of Goa Heritage Action Group with Registrar of Societies, state Government of Goa.
2000-01: spread awareness through lectures, media and dialogue with the Government of Goa on conservation issues. Group urged the Government to frame regulations for built heritage.
2001 November: second Goa Heritage Festival held with lectures, an exhibition on Houses of Goa, skills demonstration by several artists and artisans, performances and interactive sessions on art and culture of Goa and a publication.
2002 November: held the Third Goa Heritage Festival to bring awareness on the importance of a historic city neighbourhood.
2003 February: held the first Fontainhas Festival of the Arts in the Fontainhas heritage precinct of Panaji, capital of Goa, where art was displayed in private houses. This was in co-operation with the city municipal corporation.
2003 August: A historic 16th century riverfront cross was restored with technical support from a conservation architect and funds raised from the neighbourhood.
2003 November: published the first number of its annual journal titled 'Parmal'.
2002-03: continued to dialogue with governments on several environmental and heritage conservation issues and continued insisting on the framing of heritage regulations.
2002-03: The list of heritage properties and sites in the state of Goa was further updated with the help of funding from the national body Indian National Trust for Art & Cultural Heritage (INTACH).
2004 February: The second Fontainhas Festival of the Arts held. The festival helped the Group restore buildings and raise awareness on the heritage value of Goan artefacts.
2004 March: A commemorative pillar erected approximately 150 years ago was restored in collaboration with the Panaji municipal corporation.
2004 June: The World Heritage site of Old Goa had its beginnings in a 12th century hamlet. The Group restored the markers of the 1930s used to locate sites of ruined buildings and streets.
2004 October: filed a writ of mandamus in the High Court of Bombay to save a 10th century idol from an ancient temple that was demolished.
2004 November: published the second number of the annual journal 'Parmal'.
2004 November: The third Fontainhas Festival of the Arts - combining traditional intangible heritage and contemporary art in a heritage precinct - was held in Panaji, Goa.
2004 December: Group helped the custodians of a 13th century temple - which contains artistic objects and woodwork reflective of motifs found in the 13th century Vijaynagar empire - find technical solutions for additional space.
2004 December: intervened to save the front façade of a 150-year-old Goan Baroque church.
2005 February: held a learning and organisational workshop for members.
2005 March: completed the compilation of over 1,000 heritage properties and sites in and around Panaji, Goa. The listing was published in collaboration with the Panaji city municipal corporation.
2005 April-December: inventory of heritage properties in towns threatened by rapid urbanisation
2005 November: published the third number of the annual journal 'Parmal'.
2006 February: held a Mission, Vision and Values Workshop for members and associates.
2006 September: Members attended Proposal Writing Workshop
2006 December: filed writ of mandamus against an official land use plan for the state that would have endangered heritage zones and sites in Goa.
2006: Listing exercises continued for North Goa for rural belts under threat of rapid urbanisation.
2007 January: published the fourth number of the annual journal 'Parmal'.
2007 February: the fourth Fontainhas Festival of the Arts - with a lecture series and incorporating folk art and dance - was held in the heritage precinct of Fontainhas-Mala in Panaji.
2007 March: successfully opposed a state government plan to convert the historic Old Goa Medical College building, the oldest medical school in Asia, into a commercial mall.
2007: worked at local level with a village action group to save a natural water body from rapid urbanisation.
2007: took the initiative to begin the study, documentation and restoration planning for six 'kaavi' art temples in Goa. These are privately owned and display the rare and endangered Goan inlay art form (sgraffito).
2007 December: published the state's first heritage map showing heritage homes, churches, temples, mosques, caves, caverns, Kaavi art examples, heritage villages, crafts villages and medieval and pre-medieval ruins.
2008: Listing exercises in the coastal villages of North Goa continues.
2008: Research and documentation of kaavi art temples continues with future focus on restoration.
Coopération:
The Group's work and the community first combined in the Goa Heritage festivals. We helped bring out their culture and their dances in our festivals - not performances by professionals who did not understand the essence of the dance and the story, but by people who did it right after fieldwork. These are performances of living culture which we found have been distorted in their transition to the city and its consumers. We have found that our approach has helped people make the distinction and helped performers, artistes and their supporters look for methods that retain as much as possible of the original content and context.
For our festivals that focus on skillcraft and indigenous art, the Group works closely with artisans and architectural craftsmen - like potters, carpenters, basket weavers, window makers. These dialogues pertain not only to understanding their craft but also to their social and economic problems, and to why the next generation is not taking up these professions. We have found that craftspeople have the same problems all over India: how to find a market that does not harm the roots of the cultural traditions.
We engage with community at a different level for festivals that combine art and technique in a built heritage zone, as in our 'Fontainhas festivals'. The festivals have brought together people from various streams - artists, artisans, houseowners, city civic workers, musicians and the visiting public. These have successes mainly because the interactions are based entirely on trust, which is continuously renewed by dialogue and consultation.
The variety of ownerships of sacred spaces has proved to be a rich source of community experience for our group. We have had our most memorable successes in communities that have informal structures of stewardship of sacred spaces, and less so with more formalised committees. This has been important, for we have at times met with hostility and suspicion. In all these circumstances, we have found that a continuing dialogue is one based on our recognising early the wide-ranging socio-economic influences that affect our communities.

Date de création: 1981
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship
- other

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
L'Ethnopôle Garae se donne les buts suivants:
Fonder et développer un centre de documentation ethnographique portant sur les techniques, les modes de vie, les représentations collectives existant ou ayant existé dans les pays audois et pius généralement, dans les pays languedociens et occitans.
Constituer avec l'aide des divers chercheurs et groupes un fichier nominal et thématique de la recherche sur l'Aude et les régions voisines.
Diffuser largement la recherche, ses objectifs et ses résultats dans le but premier de restituer aux
populations les "fruits de la collecte et de l'étude", afin de favoriser une réappropriation culturelle dans un exprit d'échange, excluant tous les rapports hiérarchiques.
Présenter des expositions thématiques à partir des collectes effectuées. Ces expositions pourront être itinérantes, dans le département et au-delà.
Promouvoir l'édition et la réédition des travaux intéressant les cultures populaires audoises, languedociennes et occitanes. Créer au besoin une collection d'ouvrages dans ce but.
Organiser des actions de formation (conférences, colloques, stages de formation théorique et pratiques) favorisant la recherche et l'animation ethnologique.
L'association doit, dans ce but, établir une collaboration suivie avec toutes les personnes intéressées par le recherche anthropologique, sans exclusive discilplinaire.
Activités:
L'Etnopôle-Garae, labellisé en 1991 par le Ministére de la Culture, a une longue histoire dans le domaine de la sauvegarde du patrimoine culturel immatériel. Il est en effet issu de Folklore. Revue d'ethnographie méridionale, qui, de 1938 à 1988, fut un instrument de connaissance, de conseil et d'animation de première importance dans le domaine du patrimoine immatériel avant la lettre. Si la revue concernait les régions du sud de la France l'Ethnopôle a, depuis, noué de nombreux liens avec les autres pays de la zone méditerranéenne. Dans toutes ses missions et dans les divers champs qu'il a explorés il s'est toujours fixé une position d'observateur et d'acteur, analysant dans un premier temps avant de prendre une position de conseil et/ou de participer directement à l'action étudiée sur le terrain. Il nous a semblé bon de retenir quatre des opérations initiées: la littérature orale, les fêtes populaires, les regards naturalistes, et l'approche des arts modestes.
1. La littérature orale traditionnelle.
Dans les décennies 1970-2000, ont été menées, dans les Pyrénées audoises et ariégeoises, des collectes de fond sur la tradition orale. Plusieurs centaines de contes ont été recueillis sur un territoire dépeint comme un désert stérile en ce qui concerne la tradition orale. Ces enquêtes ont aussi permis de révéler un conteur exceptionnel, Pierre Pous, détenteur d'un répertoire traditionnel couvrant tous les cycles du genre. C'est auprès de lui qu'a été enregistrée une des seules versions orales du thème de Polyphème, directement inspiré de L'Odyssée. Parallèlement la collecte de chants et chansons traditionnelles, par sa richesse, a ouvert de nouvelles voies pour la connaissance de ce domaine.
La mise à disposition sous forme de publications, disques ou Dvd, a revitalisé la tradition avec l'apparition de chorales, de rencontres avec les conteurs traditionnels et les « néo-conteurs », dynamisant fortement les rapports sociaux et culturels de ces communautés montagnardes.
2. Les fêtes populaires et carnavalesques.
Après une grande étude sur La fête en Languedoc, l'Ethnopôle a réalisé plusieurs études sur les fêtes populaires, dont le Carnaval. Ce faisant il a été appelé comme consultant sur plusieurs films et émissions de télévision concernant les manifestations festives traditionnelles. Il a ainsi été conduit à analyser des cérémonies originales, à tonalité carnavalesque, organisée autour du mariage, des cours coculaires et des charivaris, regroupées sous le nom générique de « tour de l'âne », la victime, fiancé ou marié, étant exhibé sur un âne lors de ces rituels. Il est apparu très vite que la position de simple observateur n'était pas tenable et qu'il était obligatoire de participer à ces fêtes en tant qu'acteur à part entière pour en saisir pleinement le sens. L'ethnologue est donc devenu participant au point que ce sont ses études qui servent de caution à certaines cérémonies, voire qui les font survivre ou renaître comme à la Cité de
Carcassonne. Là, la fête du « tour de l'âne », remontant au Moyen Age, a retrouvé sa légitimité et sa force à la suite de sa lecture et de sa mise en valeur par l'approche ethnologique.
3. Le regard naturaliste.
Encore qu'elle soit emblématique d'une civilisation, la mise en perspective d'une production culturale est le plus souvent susceptible d'appréciations techniques, qui ne s'intéressent que peu aux constructions idéologiques ou imaginaires qui entourent sa production. Il en va ainsi de la vigne, élément essentiel de l'économie méditerranéenne, la plupart du temps réduite à quelques stéréotypes. Nous avons choisi de déchiffrer l'infime, le quotidien pour mieux saisir, à travers la trivialité des gestes du quotidien, les rapports complexes qui unissent tous les acteurs du monde végétal et la mythologie qu'ils génèrent. Entre cueillettes et culture, entre oiseaux et renards comme entre plantes qui se partagent le domaine du cultivé et du sauvage, se tissent des liens qui, à leur tour, sont à l'origine de pratiques puis de traditions.
4. Les arts modestes, à l'orée des marginalités.
Considérées avec condescendance, un certain nombre de pratiques et de créations artistiques nous ont semblé dignes d'attention dans la mesure où elles sont tantôt témoins d'une durée qui leur assure un caractère traditionnel, tantôt d'un événement exceptionnel qui en fait de fertiles marqueurs de mémoire. Dans ce domaine ont été approchés les créations singulières, faisant dès lors apparaître que, bien au delà de la personnalité de leur auteur, les réalisations des facteurs Cheval du quotidien s'inscrivaient dans le temps de la répétition et généraient des archétypes qu'il importe de préserver.
Coopération:
L'Ethnopôle s'est donné pour règle de fonctionner avec la panoplie des acteurs territoriaux susceptibles d'intervenir dans le champ du patrimoine immatériel, comme l'illustre ce projet en cours.
En liaison avec un parc Naturel Régional (La Narbonnaise en Méditerranée) a été mise en place une étude sur les différentes activités liées au monde lagunaire et l'univers symbolique de la pêche dans les étangs. Moins que les techniques de pêche (embarcations, filets, matériel de capture ... ) ce qui est retenu ici ce sont les discours sur l'espace naturel, la topographie imaginaire, la cartographie populaire, la saga mythologique et !es périodes édéniques des grandes époques de pêche. Toute l'action a été construite en partenariat étroit avec les acteurs locaux en veillant à respecter leur diversité: les pêcheurs en activité, les anciens, les prud'hommes en charge des usages locaux, les maires des communes concernées, la population vivant de manière directe ou détournée de ces activités. Il s'agissait à la fois de recueillir la mémoire d'un savoir, mais aussi tous les discours liés au monde des étangs dans le domaine naturaliste comme dans celui des croyances, des coutumes juridiques, souvent orales, et des gestes qui fondent sa spiritualité et ses codes. Par ailleurs la réflexion, en cours, porte sur la réutilisation des connaissances rassemblées. Avec quel réseau, enseignants, animateurs, élus locaux, spécialistes, est-il possible de faire
partager le savoir et permettre aux acteurs indigènes de valoriser leur culture? Jusqu'à présent la démarche a déjà donné lieu à publications et un DVD consacré à la mémoire d'un village de pêcheurs situé sur une île au milieu des étangs. Cette recherche se double d'une approche de la chasse au gibier d'eau organisée selon des formes originales (battues rituelles, embarcations, huttes temporaines... ) en liaison constante avec le monde de la pêche et qui lui reste complémentaire. Elle est à l'origine de nombreux échanges avec les structures organisées comme les syndicats de chasse ou des assocaition dedéfense de l'environnement qui mettent tous en évidence la synergie entre les deux mondes et soulignent la richesse et la complexité du monde lagunaire.

Date de création: 1997
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- knowledge of traditional dishes, preparation processes, storage techniques and production of synopsis for all the intangible cultural heritages of Acholi where these synopsis act as the measuring yards in the documentation processes.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Ouganda

Objectifs:
To establish cultural Resource Centre for entertainment, information centre and trainning groud that would enable the new generations adapt the authentic skills and values of a particular Acholi cultural heritage.

To acquire all sorts of traditional costumes and props relevant to express the importance of culture maintenance. the intention is to safeguard the twenty two (22) Acholi traditional dances that have values to that society and forge unity. All these dances are performed to express the important of a particular ritual/ceremony accordingly. Namely; (Bwola, Otole, Larakaraka, Apiti, Ajere, Dingi-dingi, Acut, Okwil, Lamuya, Lacuku-cuku, Okojo, Aguma, Akel, Lyel, Rut, Jok, Nanga, Konge, Obet, Oling, Oyiny and kwero-merok
dance). And one of the documentaion processes would be producing synopsis for all these cultural dances to serve as a measuring yard in safeguarding the tangible and intangible cultural heritages involved.

To promote co-operation among the youth spiritually, morally and physically through cultural sharing.ln this process, the youngone shall copy and learn the cultural values from the elderly people and the chain continues. In the long run, the desirable cultural trait would have been instilled into these young generations through which they can use them in other cultural exchange.

To establish simple museum for Acholi culture in the long run where all historical events, costumes/props, relics and other important Acholi instruments and craftmanship are kept.

To built better office with all the office equipments, acqusition of the relevant gazates for effective documentations, store and training ground in the long run.

To promote culture of peace through non -violence means in the youth.and this would only be possible by the use of;
(i) Folk-tales which have virtues such as commonial unity, hard work, conformity, honesty, love for the clan and many others.
(ii) Drama that handle the peaceful resolution to land disputes, educate the audiance/community the importance of safe water supply and good sanitation, environmental protection and its related desieases, rights of all citizens in regardless of sex, addressing gender based violence and any outstanding problems which demands intervention for possitive transformation.
(iii) Dances and folk songs with the emphasis of the importance of being together and in harmony.
Activités:
1. Under the directorship of seven (07)competence directors and one hundrend fifty (150) active participants, GUTA is able to carry out Community sensitization through enter- educare

2. Safeguarding the intangible cultural heritages that are almost dying off through Oraginsing cultural gala. This is one of the activities aim at restoring the beautiful culture of Acholi which were destroyed due to the long war in the northern part of Uganda. our main points of interest capture the following classes that were educative, entertaining and affordable to the community of the Acholi;
1. restoring knowledge about traditional dishes which includes preparation processes, food values, storage techniques of such traditional dishes and other importance of such dishes toward our health.
2. Folk-tales narrative which includes narrative skills, audiance participation, didactic and moralistic nature, entertainment and the musical accompaniment.
3. Traditional folk songs and original composition based on the specific theme.
4. Solo performance (vocal I instrumental for individual expression of opinion.
5.Participating in civic education targeting the various roles played by an individual genders to create harmony in the society.
6.Through music dance and drama, participate in fighting water born related health diseases and other contigious diseases and addressing the importance of good sanitation.
7. Participation in the reseltlement of the community from the camp to their original home land and harminizing the immediate problem of land disputes.
8..Addressing the problem of gender based violence through music dance and drama where the audiance attending the shows get involved automatically.
9. Sensitization on universal education and its importance using the local language for the entire community consumption.
10. Engagement in traditional folk dances purely to revitalise our culture.

BOARD OF DIRECTORS.
Name - Proffesion - Expertise - Acquisition
1.Yeko George H. - Teacher Secondary and - Literature in English - learning instn. - Instructor(folk-tales) -Oraturel dances - Royal family, MDD - UDTA/Indere
2. Okello Quinto - Teacher (SNE) - Cultural practioner - Royal family, MDD consultant - UDTA/Indere, Creativity in composition - Royal family, Scripts writting - Learning instn.
3. Okot Janani N. - National examiner - MDD - Learning instn., Cultural practioner - He is an elder, Instructor - Folk-tales narratives - Inherited.
4. LakerJolly O. - Social worker/ educationist - Culture promoters - Inherited.
5. Langol Rino - Teacher (secondary) - Cultural lovers - Inherited.
6. Lakony Joe - Social worker - Culture promoters - working with NGO.
7. Ochora Ochitti - Social worker/educationist - National adjudicator - Learning instn.

Additional information:

Mr. Lakony Joe is a Ugandan by nationality, 31 years old by now, a social worker by profession, a project officer with War Child Holland and his area of jurisdiction is in Gulu, Amuru and Nwoya districts.
Lakony previously worked with Gulu Support the children organization (GUSCO) and the work dates back from 2003 when he started with GUSCO.
In as far as his cultural background is concerned; he had worked with formerly abducted children to teach them traditional songs, dances, and practices. He had been working tirelessly to coordinate cultural ceremonies for cultural healing for the returnees. He had been at forefront for organizing cultural galas within the communities where he works.
Also in their activities they help conduct intergenerational activities where children and parents come together show case different activities. Lakony is one of the initiators of Wang-oo program as informal educational activity and avenue to teach culture to the children around fire place.
Culture is part and parcel of all the activities they do and normally they consult the traditional leaders in their work.

Mzee Janani is now 72 years old, a national examiner, graduated in tutoring, specialized in music dance and drama (MDD) and more importantly he is one of the characters in the war dance contributing toward Primary teacher’s College (PTC) and National Teacher’s College (NTC) music choir.

George is now 47 years old, a Ugandan by nationality, a secondary teacher by profession and heading music dance and drama department in his School.

Beside those,
-He is the regional co-ordinator for Uganda Development Theatre Association (UDTA) from 2003 to date.
-He is the district chairperson- UDTA for Kitgum and Lamwo districts since 1998 to date
-He is a drama scripts writer and actor.

SEMINAR/WORKSHOP OR ANY DEVELOPMENTAL ACTIVITY ATTENDED
Civic education - From C.A to referendum - Civic educator.
Business planning - Organized by Gusby Trust MUK - Member.
Business management - Organized by N.U.M.A - Member.
HIV /AIDS/STDs Awareness - Organized by Lacor AIDs project - Participant.
Uganda German youth camp - Organized by PCY-GTZ - Participant.
Disabilities census workshop - Organized by AVSI - Enumerator.
UDTA planning workshop - Organized by UDTA - National executive.
Composed drama on civic education - Organized by NDI - Director of Gulu Theatre Artists
Land disputes resolution through MDD - Contracted by NRC - Director of Gulu Theatre Artists
Composed drama on domestic violence - Requested by ARC - Director of Gulu Theatre Artists
Composed drama about back to school - Invisible children - Patron MDD department.
Developed syllabus for MDD secondary - Invisible children - Patron MDD department.
Composed drama on right of citizen - Women in democracy (FOWODE) - Drama consultant.
Produced drama on water & sanitation - District water office & health dept. - Drama consultant/ director.
Participated in cultural revival festival - War child Holland - MDD consultant.

HOBBIES:
1. Cultural activities since I am promoting, preserving and appreciating my cultural values.
2. Developmental activities as I am working toward community positive transformation and restoring hope to the disadvantaged generations.
3. Music dance and drama as I am the chairperson of all the cultural groups under Uganda development Theatre Association in Acholi sub-zone and using MDD as one ofthe most effective communication tools for sensitization.
4. Touring as I have been monitoring all the cultural groups within the region and taking them for national festival.
5. Peace as I am absolutely involved in the peace building process through theatrical activities.

I Mr. Okello Quinto hereby declare that the information given above is true, correct and complete.
Referees
-National chairperson UDTA/Director Ndere centre. contact; 0772-200104
-Country director for invisible children Uganda. (Contact- office line) 0471432583
- District water office, district health office, district engineering office- Gulu district.
- Norwegian refugee council (NRC- ICLA- Wang-oo department Gulu main office
Coopération:
Working in partnership with Uganda Development Theatre Association since 1997 and very many local groups were developed in northern part of ugnada which are affiliated to UOTA. to perform arts that addressed the societical problems and provide the workable solutions to those problems.

(Those activities listed from number 1 to 10 in sub-section 6.c above are the driving tools for the community participation in the safeguarding measures).

Date de création: 1941
Budget: U.S.$268850
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- local heritage, heritage education and voluntary work

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Belgique

Objectifs:
Heemkunde Vlaanderen wants to be a platform for the heritage community of volunteers studying the local and regional history in Flanders. All objectives of the organization contribute to the general aim of safeguarding the intangible and tangible heritage in Flanders, and sustaining and transmitting this heritage to future generations:
- Heemkunde Vlaanderen wants to support all volunteers and voluntary organizations that are active in the field of local and regional history and heritage. Heemkunde Vlaanderen stimulates the work carried out by 600 local organizations by giving support and training, by informing them through publications and newsletters, by facilitating the access to information, by organizing conferences, by informing them about policy decisions, by making their voice heard at a political level, by participating as a representative body in decision making processes, etc.
- Heemkunde Vlaanderen wants to support and train local museums, archives and documentation centers. This support concerns all aspects of managing and presenting the local heritage collections.
- Heemkunde Vlaanderen is an association that brings people together who value the history and the heritage of their own local environment and region. The exchange of ideas and information is a central point of departure.
- Heemkunde Vlaanderen wants to be an organization that works in a European and international perspective and that stimulates people to use culture as an instrument towards mutual understanding, respect and sustainable development.
- Heemkunde Vlaanderen wants to be an organization that contributes to an honest and democratic society, respecting cultural diversity and human creativity.
Activités:
Heemkunde Vlaanderen offers support and training to local heritage organisations, individual heritage volunteers and local museums and archives dedicated to local heritage. The activities of the organization are of great value for safeguarding the intangible heritage in Flanders, albeit often in an indirect way. By stimulating and supporting the local commitment of thousands of volunteers, the organization plays an important role in safeguarding the Flemish heritage. The organization currently has five staff members, all of them specialized in (public) history and heritage, both tangible and intangible. One of the staff members acts as a consultant for local voluntary groups,
while two staff members both coordinate a specific project, resp. about local heritage museums and an international heritage project. A coordinator oversees the activities of the organization, backed up by a director. It is impossible to present all activities in which the organization is involved, but some recent examples will illustrate the wide range of activities concerning intangible heritage carried out by the organization.
- Organization of courses about a.o. oral history and preservation of audiovisual media: the aim is to offer methodologies and good practices to the community of volunteers, giving them the opportunity to preserve their heritage in a durable and qualitative way.
- Organization of annual general meetings, focusing on a specific heritage theme. Often this theme is related to intangible cultural heritage, e.g. culinary heritage and folk language (2005) or carnival (2007).
- Promotion of intangible heritage at general cultural and heritage events. Recently a heritage movie was broadcasted at the annual Flemish Heritage Day, showing testimonies of several people with a different (cultural) background. Cultural diversity is an important issue for the organization in general, and this subject is explored through several pilot projects.
- In a lot of activities, special attention is given to the participation of children and youngsters. Heritage education is an important issue for the organization in general.
- The organization permanently follows up national and international evolutions in heritage policy. Recently, the organization was asked to be a partner to support the nomination of the well-known carnival in Aalst for inscription on the Representative list of intangible heritage.
- In recent years the organization was a partner in projects about a.o. folk dances, the immaterial remains of the colonial history in Flanders, the immaterial heritage of stone quarries, the heritage of a youth movement and a competition for heritage movies.
Coopération:
Heemkunde Vlaanderen is the umbrella organization of associations of local history volunteers in Flanders. The membership of this non-profit association consists of roughly 450 voluntary associations, 426 local museums and 306 local archives and doumentation centres. The cooperation with all these heritage volunteers forms the
backbone of the organization. The collaboration with and among these heritage volunteers is genereally considered as a enriching experience for all parties. All collaborative projects are carried out in a spirit of mutual respect. As the examples mentioned above cleary indicate, the exchange of ideas and information is a central
point of departure. Through all its activities Heemkunde Vlaanderen strives to contribute to a honest and democratic society, respecting cultural diversity and human creativity.
One project, however, deserves special attention. Together with two other Belgian heritage NGOs Heemkunde Vlaanderen also took the initiative to build up a new and open European network of heritage organizations: the Inventory of Heritage Organisations in Europe (IHOE - www.heritage-organisations.eu). At this moment more
than 330 organizations registered themselves on this website. This network is still constantly growing. This bottom-up initiative is a pioneering venture and might play a crucial role in the future of an active European civil society for heritage. In March 2009 a European conference on civil society organizations active in the field of heritage will be organized in Mechelen. About 180 people from 25 countries are expected to participate
at this conference.

Date de création: 2006
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- other
- HERIMED is currently engaed in the activity of digitalisation of content items related to popular culture and traditions, referred to as "Folklore".

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Algérie, Chypre, Égypte, Espagne, Italie, Jordanie, Liban, Malte, Palestine, Portugal, Roumanie, Tunisie, Turquie

Objectifs:
HERIMED is a non-profit organization established in Palermo on March, 13, 2006. The 25 members of HERIMED are: Ministries, Regions and Universities of 13 Mediterranean Countries: Algeria, Palestinian Authority, Cyprus, Egypt, Lebanon, Malta, Italy, Portugal, Romania, Spain, Jordan, Tunisia and Turkey. Moreover, UNIMED and COPPEM are also members.

HERIMED aims to strengthening scientific and technological cooperation for the documentation, conservation and enhancement of the Euro-Mediterranean Cultural Heritage (tangible and intangible). It has been founded without scope of financial gain and shall aim exclusively to achieve social solidarity with special reference to activity in the scientific, cultural and moral spheres.

General Objectives:
The promotion of the cataloguing activities, conservation, management and enhancement of material and non-material Euro Mediterranean Cultural Heritage;
The protection, promotion and enhancement of all that which may be both of cultural and of historical interest, including therein such libraries and other assets;
The promotion of culture, art, scientific and technological research.

Specific objectives:
To support information and exchange of knowledge in the field of Cultural Heritage management, though training and research projects, with particular attention to the young people mobility.
To develop and carry out the projects and training course in documentation of Cultural Heritage;
To promote and realize some interventions aimed at the preservation and restoration of the monuments.
To enhance the prevention culture, spreading good practices and technique in order to allow the maintenance of the Cultural Heritage.
To support all the public administrations being appointed for the protection and management of Cultural Heritage, in particular during the adjustment processes and during the activation of administrative procedures able to ensure more efficient politics for Heritage management.
To enhance management interventions procedure for Cultural Heritage, in the framework of social and economic politics aiminQ at the sustainable development, both at local and regional level.
To promote the development of ITCs aiming at the preservation and management of the Euro-Mediterranean Cultural Heritage.
To foster synergies among Cultural Heritage experts, institutions and media in order to spread the knowledge of the different national cultures and the existing relations.
Activités:
From 2007 until 2009 HERIMED worked on INTERREG IIIB MEDOCC "MEDINS" Project (http://ldei.ugr.es/invisiblemedinsl) which is related to international inventories of digital cultural content. The EU-funded MEDINS Project has attempted to apply the 2003 UNESCO Convention through concrete measures at the local and regional level, mainly by experimenting the application of a common cataloguing system in different Mediterranean contexts. MEDINS project contributes to the safeguard and enhancement of the Euro Mediterranean's intangible Cultural Heritage, avoiding therefore the risk of
extinction. HERIMED is mainly involved in the exchange of best practices, Multimedia Laboratories and dissemination of the project results. The Multimedia Laboratories offered an alternative approach, with a simplified, navigation-oriented web service capable of incorporating Web 2.0 features while aggregating content items related to ICH from different regional databases in an intercultural context. HERIMED proposed to realize the prototype web service that would display resources from different partners'
databases but also open to public contributions.The service would be based on a simplified common data format that enabled consensus to be readily reached, since it aimed only to provide an interchange data structure for the web rather than a universal solution to the debate on cataloguing systems. In addition, realization of the first prototype was a relatively quick processes, allowing partners to appreciate the impact of the multimedia presentations and the immediacy and potential of navigation between cultures. HERIMED is currently engaged in the activity of digitalisation of content items related to popular culture and traditions, referred to as "Folklore". The thematic approach of our activity leads to consider "Folklore" in three different dimensions: 1) the whole cultural heritage transmitted through oral means (oral literature, oral history, traditional music, traditional staging et cetera); 2) highly stylised practical xamples, such as those of practical and technical skills, rites and rituals, et cetera); and 3) "Popular culture", in the form of cultural and traditional goods produced by and circulated in the local community, based on a "reproductive" and collective continuity of cultural goods. Digital Content Items related to Folklore are aggregated at local level through our Members, such as the University of EVORA - CIDEHUS (Portugal), The Region of Murcia (Spain), The University of Granada - UGR (Spain), The National Heritage Institute - NHI (Romania), etc., (i.e. texts, photographs, books, audiovisual, sound, museum objects,
archival records, newspapers et cetera.) and made available through the MEDINS prototype platform and through other digital libraries.

In addition to proven skills of Herimed network's members, it should emphasize the competences and expertise in the domain of intangible cultural heritage of the HERIMED personnel:
Mr Fathi Saleh, President of Herimed Association, is the Director of the "Center for Documentation of Cultural and Natural Heritage" (CULTNAT), which is affiliated to Bibliotheca Alexandrina and supported by Ministry of Communications and Information Technology. He is a member of the Supreme Council of Culture and he occupied the position of Cultural Councilor at the Embassy of Egypt in Paris during the years 19951997. From 1997-1999, he was the Ambassador of Egypt to UNESCO.

His main interest is the application of the new technologies in the different fields of Cultural (Tangible and Intangible) and Natural Heritage.

Mr. Roberto Albergoni, Secretary General of Herimed Association, received his university degree (A. level) in "Economics Studies" from the University of Palermo. From 2000 to 2006 he worked as Deputy Director of UNIMED (association of 81 Universities of the euro-med region). In this period he managed many activities in the field of Cultural Heritage (Tangible and Intangible) and sustainable development:
International relations management between the 73 Universities and the UNIMED Head quarter located in Rome,
identification of EU programmes and Funding at regional, national, and international level,
project management of several and complex EU Projects in the field of Cultural Heritage (such as UNIMED Cultural Heritage 11 project, METANIR project, POllRISK project, MEDINS project, etc).

Since 2004 he has been working to the set up of HERIMED that was founded in March
2006.

Finally, noteworthy the entire composition of the Board of Directors, founded in 2006:
• FELlPE BARATA (Portugal) ;
• Carlo BIANCHINI (Italy) ;
• Gunhan DANISMAN (Turkey) - a new candidate will be appointed by the next
General Assembly due to the death of Mr.Gunhan Danisman on January 17'h 2009;
• SEBASTIANO DI BELLA (Italy);
• KHARCHI FATTOUM (Algeria);
• Ferdinando MAURICI (Italy) ;
• JOSEPH MOUKARZEL (Lebanon) ;
• Fathi SALEH (Egypt) ;
• Roberto ALBERGONI (Italy).
Coopération:
Within the framework of HERIMED activities some alliances and cooperation agreements have been set up with some organisations active in the field of ICH preservation and enhancement.

HERIMED is a member of the Festival of the Provinces supporting the Network of Italian Popular Culture, composed by 15 Italian Provinces, Slow Food Association and the Theatre of Forms. Since 2008 HERIMED supports the FESTIVAL OF POPULAR ORAL TRADITIONS which is one of the most important Italian exhibition devoted to the widest range of artistic, cultural and traditional expressions. For the 3rd edition (Turin, 2527/ 07/2008), Herimed organized the participation of two groups of artists from the southern shore of the Mediterranean to the event, providing contacts, with the Foundation Esprit de Fes (Morocco) and the Fawaneess NGO (Egypt). Herimed, in collaboration with Cultnat, Fawanys, FESTIVAL OF THE PROVINCE OF TURIN Committee, presented an international event on "Oral traditions" in Egypt. This initiative was part of the "Week of Italian Language in the World." For the event, Herimed organized two concerts "Fawanys & Wake for the Earth", held in Cairo (at the Amir Taz Palace) and in Alexandria (at the prestigious Bibliotheca Alexandrina). In July 2008, Herimed promoted the participation of Italian artists to the Amazigh Festival held in Fez (Morocco), confirming the collaboration with the National Network of POPULAR orality
managed by Festival of the Provinces. In October 2007 an international cooperation agreement was signed between the Regional Centre of the Cataloguing and Inventorying (CRI CD), The Centre for Documentation of Cultural and Natural Heritage of Egypt (CULTNAT) and HERIMED. The aim of this agreement is to encourage meetings between experts of these Centres in order to identify operational protocols and common tools for documenting and cataloguing of ICH. Within the framework of Medins project activities, HERIMED in cooperation with the project partners has created an observatory of ICH among all people and public administrations interested in the study, conservation and preservation of the Mediterranean ICH with the aim to create a network researchers of ICH, to exchange ideas, knowledge and experiences in the field of the valorisation and protection of the ICH.

Date de création: 2009
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Royaume-Uni de Grande-Bretagne et d'Irlande du Nord

Objectifs:
The Heritage Crafts Association is the advocacy body for traditional heritage crafts in the United Kingdom. The HCA members are largely practicing craftspeople, and acts as their representatives. Working in partnership with Government and key agencies it provides a focus for craftspeople, groups, societies and guilds, as well as individuals who care about the loss of traditional crafts skills. The HCA works towards a healthy and sustainable framework for the future. The HCA is unique in the UK in believing that craft skills should be protected, promoted and recorded as part our living heritage in their own right, not merely in terms of the artefacts they produce or their conservation value. The HCA received charitable status in January 2010 for this purpose.
Coopération:
The majority of the members of the Heritage Crafts Association are craftspeople, or organisations of craftspeople. The organisation is led by craftspeople and people with other skills. All the work, therefore, is undertaken by intangible cultural heritage practitioners, groups of such practitioners, or under their direction.
The NGO regularly works with, and consult, non-members to ensure that the full breadth of experience and opinion of craftspeople is taken into account both in our own work, and in that of policy makers. For example, its work includes surveys and focus groups (e.g. Mapping Heritage Crafts), co-creation (Manifesto for Making) and consultation (e.g. consultation on new craft apprenticeship framework).

Date de création: 1984
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Canada

Objectifs:
The Heritage Foundation of Newfoundland and Labrador (HFNL) was established in 1984 to preserve the heritage of the province. Originally established to conserve built heritage, the Foundation's scope has expanded to include the safeguarding of intangible cultural heritage. Our mission in that regard is to safeguard and sustain the Intangible Cultural Heritage of Newfoundland and Labrador for present and future generations
everywhere, as a vital part of the identities of Newfoundlanders and Labradorians, and as a valuable collection of unique knowledge and customs. This will be achieved through policies that support initiatives that will celebrate, record, disseminate and promote our living heritage and help to build bridges between diverse cultural groups within and outside Newfoundland and Labrador.
Activités:
The Heritage Foundation of Newfoundland and Labrador's strategy for safeguarding intangible cultural heritage is based on local communities, and on the continuing activities of those with specific knowledge of traditions, skills and customs within these communities. The strategy attempts to articulate a vision and to develop practical steps to ensure that the Province's rich traditions are passed down to future generations. Developed in consultation with community heritage, culture and arts groups, the Foundation's ICH strategy has the following goals:
1. To document and preserve ICH information and traditions, including the development and dissemination of "best practices".
2. To promote the celebration of ICH at local, provincial, national and international levels, and the recognition of individuals, groups and communities who carry on ICH traditions.
3. To work with existing organizations and educational institutions to encourage and support the transmission and dissemination of traditional skills, knowledge and practices across the province and around the world.
4. To use ICH in building cultural enterprise, and encouraging the responsible use of ICH traditions and practices in a variety of economic development efforts.
5. To monitor and evaluate the implementation of the strategy in an effective manner.
6. To identify and establish a mechanism-including active stakeholder participation, staffing resources and an advisory board-to coordinate and implement preservation activities.

HFNL has created a website devoted to our ICH activities, and are continually adding new material. We have started an inventory of provincial traditions, with all materials housed in Memorial University's Digital Archive Initiative, accessible throughout the province (and the world) through our website. We offer support for community groups to preserve their ICH online through this inventory initiative. The ICH office also maintains a
web blog, twitter feed, facebook group, and monthly e-newsletter to better connect rural communities involved in safeguarding ICH.

Our ICH Provincial Advisory Group has three specialized committees that are working on a number of initiatives. The Training Committee has sponsored a series of workshops across the province for heritage workers to learn the skills required to document ICH. Throughout 2009 and 2010, for example, the ICH office developed a series of
community workshops on cultural documentation, oral history, and fieldwork methods. These course were presented in various locations and times across the province. These courses included Project Planning for Cultural Documentation, Interviewing Techniques, New Media and Place-Based Narrative, Introduction to ICH, Documentation of Boatbuilding Techniques, Planning for Folklife Festivals, Digital Audio Recording, and
Google Maps for Community Folklore Projects.

Our Inventory Committee continues to work with grassroots organizations to develop ways to foster a "grassroots" (i.e., bottom-up) inventory of the province, shaped by the priorities of community. Our Celebration Committee is working on a province-wide system to spotlight ordinary tradition-bearers and their knowledge. Besides the work of these committees, we are pursuing specific initiatives. In 2010, the ICH program
organized the first folklife festival for the province, focusing on the Christmas-time house visiting traditions (mummering).

HFNL recognizes, as a guiding principle, that the inclusion of multiple voices, including those of youth, is important in all work relating to Intangible Cultural Heritage.
Coopération:
The forging of partnerships is critical for the safeguarding and enhancement of the province's Intangible Cultural Heritage, and as such, HFNL works to ensure the meaningful participation of individuals, groups and communities concerned with Intangible Cultural Heritage in decision-making processes at all levels. HFNL has worked with numerous groups, including:
The Town of Bay Roberts to help plan ICH projects;
Northern Peninsula Heritage groups to provide introductory training for members;
The Rooms Provincial Museum on programming related to ICH;
Tablelands Rug Hookers to promote knowledge of traditional craftways;
NL Rug Hooking Guild to digitize the provincial hooked mat database and include it in the provincial ICH inventory;
Winterton Boat Building Museum to run workshops on documenting boats and boat building traditions;
Town of Torbay Museum and Archives to digitize oral history collections;
Memorial University of Newfoundland to co-sponsor a year-long rotating ICH internship;
Southern Avalon Development Association to host a workshop and public lecture on safeguarding ICH;
Labrador Metis Association to train fieldworkers in folklore interview techniques;
SmartLabrador to provide training for local researchers on oral history, ICH and community knowledge mapping;
Conne River Mi'qkmaw Band to provide instruction for student fieldworker documenting canoe building traditions; and,

Museum Association of Newfoundland and Labrador to assist in the planning of the ICHthemed Canadian Museums Association Conference.

It is the one of the goals of HFNL that its programs and initiatives to safeguard Intangible Cultural Heritage will recognize and support individual tradition-bearers and communities who take part in the various aspects of Intangible Cultural Heritage. The particular role of women in the preservation and dissemination of Intangible Cultural Heritage is recognized and supported, and the connection between Intangible Cultural Heritage and
the social and economic well-being of individuals and communities is recognized.

Date de création: 1958
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Belgique

Objectifs:
The Domain Bokrijk houses a large open air museum. Bokrijk is the museum in Flanders where in a 1-to-1 scale peasant houses from all over Flanders in open air are shown, preserved and studied. Through its unique collection of buildings, objects, churches, chapels, interiors, tools, its knowledge about crafts, rituals and practices in daily life and historical fauna and flora the museum wants visitors to experience what it could have meant to live in the countryside in what is now called Flanders. Through interactive means and media (theatre, music, word, images) and in an appealing and understandable language the museum aims to confront people living in the 21st Century with the way in which a former rural society - its people, dwellings, and daily practices - has gradually changed by showing them the cradle of the present. Moreover the museum wants to tease and wonder a culturally diverse public, to have them rethinking their own lives and memories and to make them sensible about the relativity of past, present and future. The museum aims to keep and upgrade the innovative methods it works with to achieve this mission for a socially and culturally diverse public.

In short, the Domain Bokrijk including the Open Air Museum Bokrijk aims a culturally and socially diverse public to appreciate, enjoy and understand the cultural (both tangible and intangible) and natural heritage since 1500 on the countryside in what is now called Flanders by collecting, preserving, protecting, researching and valorising aspects from the culture of daily life.
Activités:
The Domain and the museum has over the years, from its opening in 1958, created a substantial pool of knowledge on local building traditions, materials, techniques, crafts, tools, rituals and building and crafting practices in Flanders. This knowledge has been tested and proven in daily practice in the museum. There are three groups of personnel that are actively involved in these forms of intangible cultural heritage: Marc Jansen and Kristien Ceyssens, respectively head and architect to the technical department; Jef Brebels, Johny Lowet, Raoul Putzeys amongst others, respectively carpenter and wagon maker, thatcher, cooper and allround restoration worker; Raf Schepers, head of collections, and Hilde Schoefs, curator, who research the history of crafts and craftsmanship and the rituals and practices concerned.

The museum participates since several years in the work of the Interface Centre for Living Heritage (www.sle.be). In concreto this means the museum and domain of Bokrijk help preserving rare breeds of local historical livestock as sheep, cows, pigs, horses, goats, turkeys, …by breeding new genetic offspring. The person responsible for this program is Frank Libens, head of fauna to the technical department since 1996.

The Domain and the museum organised in 2010 the 29th edition of its Dialect- and Street Theatre Festival. Frank De Roeck, cultural worker and musician, is responsible for this programme. On Whit Monday a selection of traditional forms of street theatre are performed in their respective dialects by local groups from all over Flanders. Together with quality music groups, that bring a historical repertoire on replica’s of historical music instruments and in confrontation with more recent artistic performances these traditional performances are given a stage to present their work to a large, and socially and culturally diverse public. It is every year more difficult to attract quality performances rooted in traditional practices as these performances are partly looked upon as old fashioned and out of time. The museum considers it to be its role to safeguard these performances by giving them an annual stage.

The Domain and museum is known for its original and replica installations of historical games and play as for example archery, playing skittles, curling, 'struifvogelen', 'bikkelen', ... and for its array of regional and historical parlour games. Visitors can not only try for free parlour games and sports, they can also take the challenge to compete in teams in some of these historical games guided by a trained museum guide.The person responsible for installing this diverse programme in the museum during the last decade is Bea Vaes, head of the educational cell, who previously won her spurs working for what is now Sportimonium, the museum of sports and games (www.sportimonium.be).

Luc Frenken, historian, is responsible for the 1st person living history in the Haspengouw part of the museum. He researches food, clothes, habits, micro and macro history and brings this together in daily performances.

In 2009 the museum started together with FARO. The interface centre for cultural heritage in Flanders and other local organisations in Flanders in partnership with Alan Govenar (Documentary Arts inc, Dallas) an exhibition called 'Treasures in/from People', which will travel around Flanders in 2010-2011 accompanied by public activities (see below). It opened in the UNESCO headquarters in Paris April 2010. In the exhibition we try to translate the meaning of the concepts 'intangible heritage' and 'living human treasures' as defined by UNESCO in the 2003 Convention to the visitors. Americans from the National Heritage Fellowship are portrayed next to Flemish people who are passionate about their knowledge, practice or skill.
The kick-off of the above mentioned exhibition and tour is on July 18th 2010 when the museum organises the first edition of 'Passion & Tradition. Living human treasures in Flanders'. This day the visitors can watch demonstrations, performances, skills, … from passionate and skilled people concerning intangible heritage all over the museum. People can not only watch, but are actively invited to ask questions, to give it a try themselves in free workshops, to discuss the Convention in a debate, … A special link is made to the USA, as guest country.

On July 19th 2010 the museum organises together with FARO an international colloquium titled ‘Visibility, Awareness, Dialogue. Learning from elsewhere: the USA’. Guest speakers that day are Barrey Bergey (director of Folk and Traditional Arts, National Endowment for the Arts), Peggy Bulger (director of the American Folklife Center, Library of Congress) and Alan Govenar.

Hilde Schoefs, curator, who previously worked for FARO as researcher and member of staff responsible for oral and intangible heritage, has taken the lead for these interconnected initiatives.
Coopération:
The Domain and Open Air Museum of Bokrijk has a longstanding tradition of collecting, sharing, preserving and staging intangible heritage with and by both communities and individual practitioners.

The museum started in 2008 'Learning from the Past' where skilled craftsmen teach their skills and their knowledge on wagonry making, cooping and thatching amongst others in a one to one learning trajectory with a pupil. This form of life long adult learning is supervised by the Personnel Department of the Province of Limburg.

The museum shares its diverse knowledge on intangible cultural heritage forms and practices actively within a broader community of open air museums (AEOM, www.aeom.org), that meets yearly. Next to these official meetings the museum holds close contacts with several open air and other museums, to share knowledge, as for example in 2009 with the Open Air Museum of Arnhem, het Huis van Alijn, Sportimonium, and the Open Air Museum Kommern. In 2010 the museum was host to two delegates from the Norwegian Ministry of Culture making a study on the ratification of the Convention and the manner in which different countries, ministries and cultural heritage organisations try to implement it and translate it to the public.

As stated below 6c the museum offers yearly on Whit Monday a stage to performing groups of street theatre from all over Flanders. This is the only occasion where street theatre performances from different regions and different sorts are shown together.

Also mentioned below 6c is the first edition of the museum festival 'Passion & Tradition. Living human treasures in Flanders'. This day the visitors can watch demonstrations, performances, skills, … from passionate and skilled people concerning intangible heritage all over the museum. Individuals and groups that will share their expertise that day are amongst others Frank Degruyter (expert narrator), Guy Vandecasteele (expert puppet making), Magda Vaes (expert in breast feeding advice), the ladies from Kant in Vlaanderen (lace making), the Steltlopers van Merchtem, the ‘krulbollers’.

Date de création: 1973
Domaine(s):

- performing arts
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Belgique

Objectifs:
- MISSION STATEMENT
The Firmament is an acknowledged nationwide centre for puppetry heritage. It acts as an inspiring and professional pioneering organisation, by acquiring and transferring knowledge and expertise on the tangible as well as the intangible aspects of puppetry heritage. The main focus is on safeguarding, research, and contemporary techniques of presentation. By doing so, The Firmament tries to enhance the visibility of the art of puppetry and its dynamic heritage.
The Firmament wants to be a place where people related to theatre and heritage, can meet each other, and can connect with the public. In this way, it wants to broaden the puppetry heritage community, both nationally and internationally.

- OBJECTIVES
All objectives contribute to the general aim of safeguarding the intangible and tangible heritage of puppetry in Flanders, and sustaining and transmitting this heritage to future generations:
1. The Firmament maps the puppetry heritage in Flanders in a methodological manner.
2. The Firmament proactively puts its knowledge and expertise concerning the intangible puppetry heritage at the disposal of the cultural heritage community. This community consists of organizations and persons who value the puppetry heritage.
3. The Firmament continually wants to extend its services, by:
- improving the safeguarding of tangible and intangible puppetry heritage in Flanders;
- bringing the tangible and intangible puppetry heritage in Flanders under the attention of the public;
- stimulating education and academic research on the subject of puppetry heritage;
- sharing international networks and knowledge gained through these networks with the cultural heritage community. The Firmament is an organization that operates in a European and international perspective and that stimulates the use of culture as an instrument of communication.
4. The Firmament takes responsibility in digitalizing the cultural heritage according to internationally accepted standards.
5. The Firmament focuses its attention on the ethnic-cultural diversity of its staff and board of directors and initiates activities with regard to diversity and intercultural projects.
Activités:
Since the foundation of The Firmament in 1968, important initiatives are taken in order to safeguard the tangible and intangible heritage of puppetry in Flanders. Taken into account the elaborate history of the organization, only some recent activities will be looked at more closely.
One project however deserves special attention:
1. Realisation of the ‘masterplan for puppetry and its heritage in Flanders’ (September 2009).
The latest UNESCO convention regarding intangible cultural heritage has gone anything but unnoticed in Flanders. Due to the fast pace of activities at the convention with regard to intangible cultural heritage, the heritage guardians in Flanders were also addressed very rapidly: as it happens, there did not, and still do not exist any ready-made models, guidelines or regulations on how to fit this ‘new’ and very fragile heritage form into the dynamics of the existing cultural policy. Hence, the Flemish government reasoned that by examining a limited number of ‘good examples’ it would be possible to determine how best this immaterial cultural heritage would be assured a stable future.
The ‘masterplan for puppetry and its heritage’ can be seen as one such ‘good example’, because the methodology utilized can be transported and re-used without much difficulty in many similar fields. The research project has been conducted by The Firmament for three years, at the request of the Ministry of Culture, the Department of Art and Heritage.
During these three years, multiple methods were developed to gather, preserve and share the intangible puppetry heritage.
A vast amount of information was gathered this way, which never had been done before. By doing so, The Firmament hopes to have created a foundation for a profound policy concerning puppetry heritage in Flanders.
2. The organization of yearly conferences for everybody with a keen interest in puppetry and its heritage.
Through lectures, workshops and interviews, current topics concerning puppetry theatre and its heritage are dealt with. Renowned speakers clarify their vision on puppetry theatre and its heritage in the 21st century. Different performances demonstrate the diversity of the world of puppetry. The conferences offer a lot of opportunities to establish and maintain networks. Also, the intermediate results of the ‘masterplan’ are presented to international experts. Het Firmament already had the privilege to welcome Janne Vibaek of the ‘Opera dei Pupi’ from Sicily (2006), Lucile Bodson from the ‘Institut International de la Marionnette’ in France (2008), and many other guests from the Netherlands and Germany.
3. The organization of exhibitions concerning puppetry and its heritage, with special attention to intangible puppetry heritage.
Current examples are ‘Encounters in the puppetry theatre’ and ‘Bedtime stories in the castle’. Apart form that, The Firmament takes initiatives on a regular base to present the puppetry heritage in an original way, for example the project In-Fusion/Hayat, a puppetry project in hospitals about diversity and racial differences. The Firmament also made a promotional video clip for the Belgian National Television. Using puppets created over 60 years ago, a modern video clip was recorded.
4. The Firmament nurses the intangible puppetry heritage, which is incorporated in the 'living human treasures'. They get the opportunity to pass on their unique knowledge and expertise to students, by means of workshops (among other things). Since there is no formal training for puppeteers in Flanders at the moment, workshops are an important means to preserve and transfer this intangible heritage.
5. The website of The Firmament (www.hetfirmament.be) serves as a platform where a large amount of information about puppetry (history, techniques, theatre companies, etc.) can be found. The website also features a multimedia page containing samples of puppetry videos, with special attention to the intangible aspect of the puppetry heritage.

The Firmament seeks to surprise a diverse audience with the unique magic of puppetry and its heritage. The Firmament develops a stimulating meeting point on the crossroads of tradition and experiment, art and education, heritage and theatre, research and practice.
Coopération:
Belgium is renowned for its extensive puppetry tradition, which can be traced back to the Middle Ages. Travelling puppeteers established themselves as community in Flanders around 1800. As of then, certain (local) traditions took shape gradually, and were passed on from generation to generation. As an example: 'Koninklijk Poppentheater Toone' from Brussels performed for the first time in the 1830s, and the ‘Poesje van de Reep’ from Antwerp in 1862. Both are still performing today.
The Flanders puppetry heritage is situated in the performance arts as well as in the traditional craftsmanship. Intangible puppetry heritage consists of construction techniques, stage techniques, stories and myths, but also of performances. These are passed on by means of education, interviewing key players and performances. Indeed, performances are not just a way to pass on intangible heritage, but are intangible heritage themselves.
Nowadays, some eighty puppetry companies are active in Flanders, and they range from very traditional to contemporary. All these companies, added up with the sixty non-active companies, are regularly contacted by The Firmament and get into debate about the value of heritage.
Together, they preserve no less than 16.500 puppets. This is an impressive figure, but the real meaning of puppetry heritage relies in the fact of reusing and updating it, e.g. by means of performances.
In this perspective, The Firmament keeps tight connections with the performance arts in general and the amateur puppetry arts, and presents it on a regular base to the public.
The Firmament is, as such, active on the crossroads of different domains in which it has built an extensive network over years.
The organisation can rely on different heritage experts and partner organizations. Apart from oral history projects, The Firmament gives special attention to the transfer of intangible heritage, like stage and construction techniques. ‘Living human treasures’ get the opportunity to pass on their unique knowledge and expertise to students, so that this intangible heritage is not lost. In this way, The Firmament has a broad contact with puppeteers in Flanders, both starters and experienced performers.

Date de création: 2004
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Viet Nam

Objectifs:
The Cultural Heritage Association of Vietnam is a socio-occupational association, assembling Vietnamese organizations, individuals operating occupation or having ardour fervour for cultural heritage to protect and promote cultural values, meeting people's cultural increasing demand, building and developing the advanced culture deeply stamped with national characteristics of Vietnam, contributing to World cultural heritage treasure, enhancing state administration efficiency, improving People's responsibilities for protecting and promoting cultural values under Cultural Heritage Law. The Association operates nationwide under State management and patronage of Ministry of Culture - Sport and Tourism. It has relations with domestic and international organizations, individuals.

Its organizations and activities are implemented in principles: voluntary, self-government, self-paying up expenditure; democratic centralism, collective leadership, individual responsibility, decisions made by majority, observing Vietnam Laws and the Association Regulations.

It operates independently, has legal entity, its own stamps and bank account. The head office is located in Hanoi and has representatives offices in some provinces, cities.
Activités:
The Cultural Heritage Association of Vietnam has many branches on nationwide. Most of them take part in safeguarding intangible cultural heritage. Working as the Central association, we indirectly engage in this activity. To serve the mission of safeguarding intangible cultural heritage, one of our important tasks is to do scientific criticism.

The association also co-operates to hold meetings, scientific conferences, workshops etc with a view to confirm values of beautiful spots, vestiges to submit to related authorized bodies for their consideration and confirmation and then give suitable measures to protect and promote. Some of the scientific conferences that we have organized are: Preserving and Promoting values of the World Natural Heritage Ha Long Bay; Identifying Cultural Heritage Values of Hoa Lu Ancient Capital and Trang An Ecotourist
site; Tam Dao - Cultural Heritage and Tourist potential, Management of Folk Festivals, etc. When hosting these conferences, the Association gathered many concerned scientists in such fields as: archaeology, environment, biology, geography etc and certainly most of representatives are from cultural management bodies.

Since its establishment in 2004, the Cultural Heritage Association of Vietnam has cooperated with various organizations and state bodies to celebrate important events. Every year, the Association cooperates with Ministry of Culture, Sport and Tourism and Vietnam Exhibition Centre for Culture and Art to hold Cultural Heritage Day (November 23rd). These activities create great impacts on abig number of cultural cadres as well as the public. In 2007, the Association collaborated with the Vietnamese Cultural Heritage Joint Stock Company to carry out a program of "Moon for Children" in Mid Autumn for excellent pupils in Da Nang city. On the occasion of the intangible cultural heritage element Quan Ho folk Songs was inscribed onto the Representative List and Ca Tru Singing onto the Urgent Safeguarding List by UNESCO, the Cultural Heritage
Association of Vietnam and Vietnam National Village for Ethnic Culture and Tourism organized a meeting among related communities. This event has highly raised awareness and pround of the Vietnamese people in general and the communities in particular.
Coopération:
After over 6 years of operation, the Cultural Heritage Association has admitted a big numbers of members from provinces, cities on nationwide who come from various institutions and social organizations, including: cadres from 64 provincial departments of culture, sport and tourism, museums, vestige management boards, etc. Most of them are whole-hearted people for cultural heritage. They are experienced in working on cultural heritage field and actively involving in protecting and promoting material and immaterial cultural heritage values.

The Association is one of the pioneers in operating under socio-occupational model. Without governmental sponsor, the Association operates in principles of "voluntary, selfgovernment, self-paying up expenditure" with a view to enhance state administration, improve people's responsibilities to take part in protecting and promoting cultural heritage values in the spirit of the Law on Cultural heritage and the 2003 UNESCO convention for the Safeguarding of the Intangible Cultural Heritage. Cooperation on the
base of mutual respect with communities, groups or individuals, the Association is representative for the voice of people in protecting values of cultural heritage, especially intangible cultural heritage. The cooperation between Association and cultural bearers who are maintaining and transmiting intangible cultural heritage is in the spirit of mutual respect and interactive relations with the communities. The cultural bearers themselves are members of the Cultural heritage Association of Vietnam. They are directly involving in protecting and promoting cultural heritage values under the direction and consultancy of the Association, in line with the Vietnamese laws and the Association's regulations.

Date de création: 1967
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Viet Nam

Objectifs:
According to its Regulation, the Association of Vietnamese Folklorists “is the organization of Vietnamese Folklorists who involve to the collection, research, transmision and dissemination all kinds of intangible cultural heritage of all 54 vietnamese ethnicities”The objectives of AVF members are, among other, folk literature, i.e. oral tradition and expressions (including myth, tales, verses, poetry, idioms, proverbs, fables, jokes, etc..), various sorts of performing arts (music, dance, games, presentations, theatre, puppetry, epic telling etc…), fine arts (painting, decoration, sculpture, architecture, etc..), social-believe practices (rituals, customs, ceremonial-festives events), local knowledges (handicrafts, medicine, weaving, agricultural experiences, knowledges on climates, fauna, flora, etc…)
Activités:
i. Membership and organizational composition of the AVF
+ At recent moment (2009, May) the AVF has 1176 members living spreadly in 64/64 provinces, through out the country. They are mostly graduated at least at bachelor level, except 109 Ph.D and 05 Dr. of Sciences (a scientific level higher than Ph.D. level) on above-presented domains. (please, see the paragraph No 5 “Objectives of the Organization”) In each province we have a provincial branch gathering all AVF members to realize the collecting, researching. transmitting and disseminating task of the organization. Moreover, we have also a number of members who are researchers or university professors. Twenty AVF branchs were established in Universities and researching institutes for these members. So totally now we have 84 AVF branchs. Each AVF branch has own Standing Committee to conduct the annual working plan of members and of branch

ii. At national level AVF has own National Standing Committee which was voted by deputies of members at the Fifth AVF Congress, consisting of 10 members as follow:
+ Prof. Dr.of sciences To Ngoc Thanh. President
+ Prof. Ph.D. Nguyen Xuan Kinh, Vice president
+ Associate Prof. Ph D. Le Hong Ly, Member
+ Associate Prof. Ph.D. Do Thi Hao, Member
+ Associate Prof. Ph.D. Nguyen Xuan Duc, Member
+ Prof. Nguyen Ngoc Quang. Member
+ Ph.Dr Tran Huu Son. Member
+ Writer Linh Nga Nie Kdam.Member
+ Poet Nguyen Thanh Mung. Member
+ Poet Truong Thanh Hung. Member

iii. In order to become member of AVF, the candidate has to have at least three completed collecting or researching works corresponding to aimed of AVF abovs-mentioned domains (see paragraph No 5). Becoming AVF member he/she has to attend a training course to systemize own knowledges on fundamental principles of folkloristic profession. Then, each year the member has to present
own provisional working plan for next coming year to the annual scientific seminar of AVF branch to ask the branch’s advise and consent.
iv. Besides the annual-permanent working plan of 84 branchs, the AVF has conducted some long term projects such as:
+ Conducting the inventory on the recent situation of intangible cultural heritage during the term 2005-2010 named “The view toward 2010”
+ The AVF National Committee has adopted and promulgated the Rules for Rewarding the Honor Titles for 128 folklore bearers “The Master of Folklore” to response the UNESCO Recommendation on the Establishement of System of ”Living Human Treasures”.
+ Together with the local people revitalize those intangible cultural heritages which in danger of disappearance, maintaining and including them as an unseparated component in the people’s everyday cultural life. Until now we have near of 100 such address.

Coopération:
The most of our members are local people. The communities are their homeland. The group or bearers-practitioners are their relatives or descents. The aim of AVF members’ works is also their contribution to the safeguarding and promoting the traditional cultural asset and properties of their relatives and homeland. That is why they always received the cooperation of local people
Among 1176 AVF members there are around 200 members who are originated from ethnic minorities. This is also a very auspicious condition for our collecting and researching works.
Moreover, according to our conception that “Culture is always a living entity”, besides the rewarding with honor title for the folklore bearers and practitioners, besides the collecting and researching works, we always organize the transmission and dissemination of collected materials, firstly to the younger people of communities. This behaviour attitude received the cooperation and the consent of communities and local people. So, the heritages are not only preserved in passive form of archive materials, but also and more important, they exist actively as organic component inside in the people’s everyday life .

Date de création: 1998
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
•To revitalize unique and fundamental cultural values through developing and promoting cultural values of human society.
•To function all its activities in line with traditional Naga Morung institute model (philanthropic institute concerns in lessons of community living, leadership, discipline, hard work and spirit of services, sports, art, music and health etc.).
•Undertake survey, research and evaluation of socio-economic, culture and religious problems and to publish documentary sources, books, periodical journals, monographs, pamphlets, souvenirs, film, videotapes, audio visual aid and CDs etc. to educate the general public.
•Provide relief and rehabilitation.
•Take up various health programme; family welfare, child welfare and help the destitute, handicapped, victims of unexpected circumstances and calamities, and economically backward people.
•Take up integrated development programme; plantation, poultry, piggery, duckery, cattle, rearing bee keeping, goat, sheep etc. for rural and village upliftment to enhance their income with proper guidance and as per geographically and climatically suitable places
•Run scale industries (small) such as food processing, yarning, dying, and handloom.
•Impart training such as cutting, weaving and knitting, handicrafts, carpentry, computer, mechanical and technical, typing and shorthand, in suitable places i.e. rural, backward and tribal areas.
•Empower women in order to bring them to the level of men-folks and to share equal privilege.
•Take up environment and ecological development activities.
•Promote games and sports among the tribals and others to provide recreational facilities and to bring about social integration.
•Open schools, colleges of different streams, Arts, Agricultural Science, Commerce, Theology and Language and cross-cultural college including adult literacy for the illiterates.
•Open care center and training centers for de-addiction cum rehabilitation, counseling, awareness center, HIV/AIDS, population control, orphan, aged and uncared by providing accommodation for such people.
•Have ecumenical set up in concept and nature in all its endeavors through networking, unity, cooperation, collaboration, and ministry.
•Advocate Human Rights for social justice, through training and motivation of the poor, and to support the cause of the poor before the government and the world community.
•Promote Right of information Act to the masses.
Activités:
I. Language, Literacy and literary programme:
Sümi Naga language course in association with Sümi literature Board, six months basic Certificate and one year advance diploma course is offered. This course is targeted to promote cross culture married couples, children, students, youth, research scholars and masses. So far ninety students in Advance and eighty students in Basic have successfully completed course and serving at different institute. At present 25 students are undergoing Advance course.

II. Cultural Research Programme
Focuses are on: Oral literature; folklore, myths, legend, wisdom sayings. Indigenous Culture: Customs & traditions, agricultural life & activities, festivity and festivals, rituals & rites, habits & diets, indigenous industries and economy.

Cross Cultural Research on Naga customs and traditions is being carried out at selected villages/places for empirical studies. Documentary and tribe affinity analysis programme has begun with seminars and workshop in collaboration with government agencies (NECC). So far two days seminar on Naga Folklores was conducted in Nov. 2007 in collaboration with NEZCC in which 12 Naga tribe participated.

Another research programme on ‘Sümi Naga folksongs documentary’, was conducted ‘at Lazami Sümi Naga ancestral village in February 2008, sponsored by NEZCC. This project has become an eye opener for awareness and promotion of cultural values.
Under this project research on oral narrative is given more importance. Networking with reputed agencies such as Sahitya Akedamy and other regional universities has developed to the level of resource person and participation at research seminars and workshops.
At present research on agricultural activities, festivity and festival are under the process.

III. Documentary & Publication work:
For documentation of oral tradition and promotion of cultural research work the society is also involved in publication work. At present the society has two research booklets in its credit, Sümi Naga work Folksong Songs book and video CD and Sümi Naga folksongs book, and video CD.

Along with the documentation work the society is also engaged in literary work for further promotional work. Thus, publish translation work as well, currently revising Sümi Naga folksongs book and video CD and English version of Naga Folklores. Apart from culture information with a view to promote vernacular literature a book entitled ‘Apostolmi chighi kini shiküka (Didache)’ was also published in 2007.

IV. Religious (Indigenous Theological) Studies:
Nagaland state is the only Christian dominated states in India with 98% of population. Whereby influence of this group of people matters a lot for the growth of the societal life. On examining such contribution and effect ICS felt responsible to initiate some avenue to check such measure. This idea leads us to realize that laypersons are untapped resource of Church and social ministry that weights special concentration. Seeing the growing need of layperson in Church ministry equipping them Biblical and Theological knowledge is encouraged. Hence, to promote built indigenous Church ICS is offering Laity Bible courses in collaboration with TESPRO International UK.: Diploma and Bachelor of Ministry course (in English & Sümi vernacular medium).

V. Human Resource Development Programme
•Personality Development: counseling, career guidance to children and youth.
•Imparting indigenous workable skill training to the unemployed youth, woman and self help groups; Handicrafts: card making, decorative items, wooden, bamboo & Cane crafts etc. Indigenous Arts, yarning, dying and weaving etc.
•Organize different training programme, workshop and seminars on different life issues and impart leadership training to leaders, woman, and youth.
•Act as consultant agency, facilitates technical and non technical trainings to national reputed Institutes for the underprivileged citizens; B.Tech. Biotechnology, B.Tech. Biochemistry, B.Tech molecular, B.Tech (food processing).B.Tech Agri. Bsc Agri., B.Sc Forestry.,Bsc. Nursing, Public Health, GNM. First aid & practical Nursing, Medical Lab tech., MCA, MA folklore studies, and Theological Studies etc. All together 78 students have been facilitated through youth empowerment programme.
•Music & arts: to the underprivileged children.
Western: Piano, Drum & drum.
Indigenous: Flute & mouth organ, Folksong and Folkdance

VI. Traditional hospitality:
1. Public Health: Care and support to HIV & AIDS victims; Mother and Child care; Aged and differently abled person.

VII Social welfare & service;
•Library cum mini cultural museum at present there are 400 members comprising of underprivileged students, researchers, scholars and general masses.
•Tobacco control in collaboration with state Government and National tobacco control Programme.
•Family counseling, technical and faith based moulding.
•Human Rights for deprived, woman and indigenous people, associated with world mountain people’s organization.
•Environment awareness & pollution control
•Asylum
a. Conference Hall (120 seat capacity)
b. Guest room (Double bed)
c. Meditation hall.
Coopération:
The project begins with a humble beginning. No state or central government nor any private agencies came forward to help neither encouraged. However, with all humility the society began the work. The method adopted for the safeguarding of cultural heritage is fourfold; research, documentation, coding and implementation. This process began with identifying the village community through survey report and analyzing the findings.

Lazami village which is believed to be the first ancestral village of Sümi Naga tribe was then selected for the said project. This village is not only the First Sümi Naga village, but also said to have been where many other Naga tribes ie: Lachepumi and Nethophumi village of Angami tribe, Zülhami and Khutsami village of Chekhasang, Longkumer clan of Ao, Kent clan of Rengma, Lotha, Sangtam, and Yimchungrü tribe are said to be immigrated from this ancestral village.

Their Language spoken is the original unpolluted language of Sümi soil, unlike any immigrant Sümis. Lazami language also has affinity with Chekhasang, Mao, Zeliang, and Rongmei. 80 percent of Sümi Cultural life is still intact, which is comparatively higher and better than any other Sümi villages or Nagas in general. Those integral characters are; language, folksong, folklore, diet, agricultural practices, household items, and furniture etc.

Largest village of Sümi tribe, of 950 household (present 2008 record). Lazami village is rightly a ‘cultural village’. Be it Naga migratory history, village topography, villager’s nature, beauty and scientific art of Sümi language, folksongs, jhum cultivation method, product of agricultural crops and dietary habits of the people, and monument of ritualistic stone platform at Iyinu khel etc. all speaks volume of the same truth. If dreamed of having such an idol Naga cultural village, Lazami village should be the model.

Their cooperation and response to our action plan is immensely contributing a lot. Reciprocal participation is a source of encouragement and growth for our project. Such impact of restoration is even better outside the community people. Their natural goodness instead of being good is the key factor of influencing others to assimilate and restore lost cultural values.

Date de création: 1996
Objectifs:
L'lnOc-Aquitaine a pour objectifs la socialisation de la langue et de la culture occitanes en Région Aquitaine.
Son Assemblée générale et son Conseil d'administration rassemblent des représentants des collectivités
d'Aquitaine (Conseil régional, CESER, D.R.A.C., Départements des Pyrénées-Atlantiques, de la Gironde, de
Dordogne, Communautés d'agglomération de Pau-Pyrénées et Côte-Basque-Adour) et les principales
personnes ressources, associations départementales et régionales, notamment représentatives des
expressions du PCI.
Il agit dans le cadre de 5 missions prioritaires fixées par son Assemblée générale : Socialisation de la langue
occitane ; Sauvegarde du PCI et sauvegarde 1 valorisation des fonds audiovisuels patrimoniaux du domaine
occitan ; Communication via les T.I.C. ; Expertise au service des collectivités qui en font la demande ; Aide à la structuration et la professionnalisation d'une Filière du Livre occitan.
Les objectifs de l'organisation visent notamment à :
assurer en direction des collectivités territoriales, des institutions, du secteur associatif et des entreprises,
une fonction d'ingénierie, de soutien et de centre de ressources, de manière à contribuer au développementde la langue et culture occitanes en Aquitaine.
participer à la réduction des inégalités d'accès à l'offre linguistique et culturelle occitane en Aquitaine, en
développant des solidarités sur l'ensemble du territoire régional à partir d'équipements structurants,
Contribuer à l'information des publics et des acteurs de la vie culturelle, notamment au moyen des
nouvelles technologies,
accompagner les opérateurs linguistiques et culturels publics aquitains dans l'élaboration et la réalisation
de leurs projets, en inscrivant leur action dans une dynamique de réseau,
organiser à la demande de ses partenaires des réunions thématiques, colloques et autres séminaires
permettant d'informer, de sensibiliser et de professionnaliser.
Dans le cadre des missions 2 & 4, il vise ainsi la transmission dans les domaines du chant, de la musique, la
danse, du conte et de l'ensemble de la littérature orale.
Activités:
Depuis 2007, sauvegarde du PCI et sauvegarde / valorisation des fonds d'archives audiovisuelles sont
parmi les actions majeures de l'InGe-Aquitaine en raison de l'adéquation en Aquitaine entre l'existence d'un
organisme professionnel conventionné et la naissance et le développement de politiques régionale,
départementales et nationale dans ce domaine.
Ces actions sont mises en oeuvre par le « Pôle Culture & Société » animé par Jean-Jacques Castéret,
directeur adjoint de l'lnOc, docteur en ethnomusicologie (Bordeaux 3 1 Lacito du C.N.R.S.), spécialiste du
domaine français et d'Europe du Sud, chercheur associé au Laboratoire ITEM de l'Université de Pau et des
Pays de l'Adour, membre du Research Centre for European Multipart music (Universitat für Musik und
darstellende Kunst Wien), du Multipart group of the International Council for Traditional Music, de la Société française d'ethnomusicologie et administrateur du CIRIEF.
Juliette Minvielle, titulaire d'un Master (Université Bordeaux 3) en animation socio-culturelle, collabore au
Pôle en qualité de médiatrice culturelle et webmaster de sondaqui.com ; de même que Christine Moncla,
documentaliste.
Les actions suivent 5 axes principaux :
* Sauvegarde des archives sonores et audiovisuelles sous maîtrise d'ouvrage des Conseils généraux
(Pyrénées-Atlantiques, Gironde, Dordogne, Landes)
o Accompagnement des services départementaux d'archives pour l'inventaire des fonds
privés (associatifs ou autres) ou publics
o Assistance à Maîtrise d'Ouvrage pour les appels d'offre pour la numérisation
o Maîtrise d'oeuvre pour la description documentaire des fonds et la création des
catalogues numériques
* Collecte de la mémoire et/ou des pratiques vivantes en langue occitane sous maîtrise d'ouvrage du
Conseil général des Pyrénées-Atlantiques
* Expertise à la demande des coiiectivités
*Inventaire du P.C.I. d'expression occitane en Aquitaine 2008-2013 sous maîtrise d'ouvrage de la D.G.P. du
Ministère de la Culture :
Il s'agit d'un travail plurithématique visant à expérimenter, évaluer, moyens et protocoles pertinents à
l'échelle d'une région-cadre : le domaine occitan représentant près de 95 % du territoire régional. Ce premier inventaire a été circonscrit aux formes d'expression artistique et à leurs espaces d'expression, anciens ou de création récente, afin d'en apprécier la vitalité contemporaine. Il s'est également attaché aux manifestations rituelles calendaires et aux manifestations liées aux métiers et spécialités locales (foires, comices agricoles, etc.).
Il explore ce faisant des questions d'ordre méthodologique, éthique et politique notamment la question de
communauté. Il a par ailleurs contribué à la création de la fiche nationale d'inventaire puis de
l'expérimentation de la mise en fiche d'inventaire et des différentes possibilités d'illustration (photo, son,
vidéo). Certaines sont accompagnées de montages vidéos en ligne accessibles à partir d'entrées nationale
(Ministère de la Culture) et régionales (sites internet de la DRAC Aquitaine et de l'lnOc-Aquitaine).
En 2011-2014, l'Inventaire comme base de réflexion méthodologique, comparatiste, se poursuit, porté par le
Laboratoire ITEM (EA 3002) de l'Université de Pau et des Pays de l'Adour en association avec le Laboratoire
ADES de l'Université Bordeaux 2, la Chaire de recherche du Canada en patrimoine ethnologique de
l'Université Laval (Québec) et l'lnàc-Aquitaine en qualité d'opérateur professionnel.
*Médiation scientifique et culturelle via les T.I.C
Créé dans le cadre du Programme BnsA du Conseil régional d'Aquitaine et de l'Etat, « sondaqui.com » (V.1 ),
le site du patrimoine oral et festif occitans en Aquitaine a pour objectifs, dans sa première version (décembre 2006), la mise à disposition publique et la valorisation des fonds d'archives sonores de l'oralité occitane d'Aquitaine. Ce site constitue une passerelle entre tous et à disposition de tous : porteurs du PCI, collecteurs, chercheurs, associations de musiques traditionnelles, amateurs, enseignants, grand-public. Les fonds sont accessibles via la rubrique « archives » contenant un catalogue d'environ 1500 items (recherche simple ou avancée) auxquels sont associés environ 180 fichiers sonores. Toutefois, afin de faire découvrir le patrimoine oral de façon ludique, « sondaqui » choisit de contextualiser
les archives sonores. Il les intègre comme illustrations sonores de pages consacrées à la présentation des
rituels festifs contemporains et à leur histoire, de même qu'aux instruments et danses regardées par les
porteurs de tradition comme les plus caractéristiques.
Dès lors, la rubrique « La fête un patrimoine vivant » devient l'entrée principale du site conduisant peu à peu à la découverte des documents sonores.
Cet outil deviendra au 1er juin 2013, Sondaqui.com (V2), le site du Patrimoine Culturel Immatériel occitan
d'Aquitaine. Il conserve la même ligne éditoriale et les mêmes fonctionnalités majeures. Mais technologie et
navigation ont évolué permettant une approche systémique du PCI. Une attention particulière est par ailleurs accordée à l'éducation artistique et culturelle.
Coopération:
L'action de l'InGe-Aquitaine est conduite par une équipe professionnelle qui met en oeuvre le programme
voté par ses administrateurs : représentants associatifs et personnes ressources qui sont autant de porteurs du PCI (groupes, individus).
Au-delà le travail de l'organisme s'effectue au service des, et en partenariat avec, associations et porteurs de projets.
C'est le cas du site de valorisation du PCI, sondaqui.com, qui valorise pratiques et manifestations du PCI, en
concertation avec les porteurs. Les films réalisés ou les textes écrits sont ainsi concertés avec les porteurs.
Les textes sont édités sur internet en français et en occitan, l'InGe prenant soin en outre d'employer la
variante dialectale de l'occitan correspondant aux communautés décrites : le gascon, le languedocien et le
limousin. Des séances de restitution sur le terrain sont également organisées et au-delà diverses animations
visant l'information et la transmission des pratiques.
L'essence même de ce site est de constituer une passerelle entre tous et à disposition de tous : collecteurs, chercheurs, associations de musiques traditionnelles, amateurs, enseignants, grand-public. En effet, la mise à disposition publique et la valorisation des fonds d'archives sonores de l'oralité occitane d'Aquitaine, fonds collectés depuis les années 1960 était jusqu'alors impossible le statut de ces archives éparses : privé, associatif, public (MuCEM par exemple), ne favorisant pas leur rassemblement et leur accès.
Le travail de l'InGe consiste aussi à donner un écho, via les T.I.C., à la vitalité des pratiques de terrain et aux initiatives des porteurs de projet en Aquitaine. Il améliore aussi la communication entre ses partenaires
institutionnels et associatifs avec la presse locale, régionale, nationale et internationale.
L'InGe répond par ailleurs aux sollicitations des porteurs de projet. C'est le cas de l'association des Bohaires de Gascogne qui oeuvre pour la promotion et la recherche sur la cornemuse des landes de Gascogne.
Engagés dans une démarche d'inscription sur les listes de l'Unesco, l'InGe-Aquitaine leur fait bénéficier
d'une expertise technique et scientifique, aidant localement leur démarche à trouver un écho auprès des
collectivités. C'est ainsi qu'une table ronde sera dédiée à ce sujet réunissant représentants de l'Etat, de la
Région, du Département (octobre 2013).

Date de création: 1994
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- nécessité d'existence de patrimoine culturel materiel approprié

Pays principaux d'activité:

Madagascar

Objectifs:
Ce sont des us et coutumes trditionnels marquant l'identité spécifique des tribus SAKALAVA NJOATY BETSIMISARAKA avec des variantes suivant les régions du pays (Madagascar) mais gardant l'identité de fonds
Activités:
Les activités sont traditionnelles, continues, mensuelles, annuelles, publiques, solonnelles, communautaires, dirigées par des personnes responsables, suivies par toute la communauté concernée groupée en familles. (pères, mères, enfants, parents, amis, avec des notables)
Coopération:
Il y a une veritable coopération, dans un esprit de respect mutuel avec les communautés environnantes ou éloignées, car ce sont des pratiques rituelles, officielles où tout le monde est invité, moyennant ou sans participation symbolique

Date de création: 1964
Budget: U.S.$60000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- other
- Flemish folk music, flag waving, traditional costumes

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Belgique

Objectifs:
PEOPLE
IVV is a partner to all active participants, organisations and people interested in Flemish Folk Art. Up to now all publications have been made in Flemish (Dutch), but in the near future cooperation will be sought on an international level for publishing.
The members of the IVV are experienced practitioners of folk dance, folk music, flag waving and traditional fashions. IVV is an open organisation with no restriction as to people, politics or geographical boundaries.
PRODUCT
Folk art includes every culturally precious ‘product’ from a living ethnic community. It can also be considered as all kind of art emerging from a community. Flemish folk art belongs to Flemish Folklore within the immaterial cultural heritage of Flanders. ‘Flemish’ refers to what has been traceable within the larger Flemish historical communities (= within the Belgian, French and Dutch context). IVV concentrates on traditional (= at least 50 years existence) and contemporary folkdances, folk music, flag waving and traditional fashions.
PROCESS
IVV consists of four working parties dealing with:
(1) the study of dances and dancing music;
(2) the study flag waving
(3) the study of traditional fashions
(4) communication: a.o; editing the quarterly journal.
All working parties are meeting at least 6 times a year and their members are working on publications in the field.
IVV is a non profit organisation. It has a general committee and a general assemblee.
IVV is officially recognized by the Flemish Government and receives a annual budget of
40,000 euro. IVV has one part-time staff member.
Activités:
Main activities of IVV are concentrating on collecting, archiving, studying, translating,
reworking, publishing and teaching about folkdances, flag waving sequences, songs and
description of traditional fashions. Study is based on oral and written sources in Flanders
as well as abroad. IVV is co-operating with partner organizations within the field for study
and organizing courses and interactive workshops and for enabling the exploration of
archives.
FOLK DANCE
From 1964 until now 18 books were published. They cover 160 traditional Flemish
dances. Another 10 editions have been made with dances recently designed in folk
dance groups. One edition deals with terminology and vocabulary used to describe the
dances. All editions instruct the reader with historical background, description, music and
figures or drawings of dances. The working party on Flemish folk dances is also involved
in courses and interactive workshops.
Activities are actually focused on historical elements and dances within the traditional
archery guilds, study and visualization of variations on basic dances like polka, scottish,
mazurka, walzer and quadrille and editing newly created dances. The main challenge for
the working party is to keep folk dance attractive and to guarantee quality in performing.
FLAG WAVING
A basic handbook about the historical background and the technique of flag waving was
published in 1974. Six other editions cover specific flag waving sequences, a part is
historically based, another part comprise newly created combinations. This working party
made an edition with vocabulary and terminology of flag waving and another edition
about drum playing when accompanying the flag waving.
Actually new creations are noticed and recorded. The working party on flag waving has
its annual instructive course and is co-operating with partner organizations to spread the
culture and technique of flag waving within these organizations.
TRADITIONAL FASHIONS
A first standard work on local fashions in Flanders was published in 1994, the subject
being part of the ‘submerged cultural heritage’. It deals with local traditional costumes, a
fashion that’s always 50 years behind. A great deal of information on the development of
this clothing was obtained from paintings, drawings, description of people from the
recent past. In this book attention is devoted mainly to the period between 1750 and
1950, with an occasional glance back at the 16th and 17th centuries. A second edition
will appear in 2009. It will deal with thematic aspects (particular clothing elements),
geographical differences in clothing and the social role of clothing with special attention
to multicultural influences.
COMMUNICATION
The working party started its activities officially in 2008. It deals with diverse aspects of communication. Challenges for this working party are the content of the quarterly journal and renewal of its lay-out. By optimizing the opportunities of the website and translating the texts disseminated in at least four languages this medium must enable IVV to spread its information across Europe.
Coopération:
The number of groups dealing with intangible cultural heritage is high in Flanders, due to individual, historical and political reasons. From its origin IVV has co-operated with different federations and organisations without any restriction. There is a large representation of these bodies within the working parties of IVV and within its
membership. Up to now there are no structural or ideological conflicts hampering cooperation of IVV with partners in the sector.
In July 2008, IVV presented a feasibility study to the Flemish Government about the role it could fulfil as intangible cultural heritage organisation in the Flemish community. A structural interview was carried out with 16 partner organisations. These interviews were written down verbatim, analysed on keywords grouped in a code book and clustered.
Additionally an inquiry was sent to 34 other partner organisations of which 62% responded. These inquiries were also analysed and the results qualitatively studied. This feasibility study gives us a clear view on the tasks and the responsibilities of IVV within the sector of intangible cultural heritage. According to the interviewees and the
inquired partner organisations IVV is regarded as a centre of excellence with regard to the study of traditional and contemporary Flemish folkdance (+ related songs and music), flag waving and fashions. It is expected that IVV collaborates within the sector for its research and that it will continue to spread the findings through the partner
organisations by publications, visualising, courses and interactive working parties.
Several partners offered to mediate in the multicultural approach of comparatively studying symbols and rites as well as outing of dance, song, music and fashions on the national and European level. The challenge of making the collaboration structurally visible within the sector of intangible cultural heritage can be met if IVV succeeds to get more staff and budget. As a direct consequence of the feasibility study, the above mentioned findings were translated into strategic and operational objectives and submitted to the Cultural Department of the Flemish Government.

Date de création: 2004
Domaine(s):

- oral traditions and expressions
- performing arts
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- indigenous food processing, local horticultural practices (including preservation/seedbank for old, local varieties of vegetables, grains and fruits), traditional medicine

Mesure de sauvegarde:

- preservation, protection
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Belgique, Inde

Objectifs:
INTACH Belgium is the Belgian chapter of the Indian National Trust of Art and Cultural Heritage (www.intach.org), and adheres to the main objective of INTACH : the preservation and development of Indian heritage (both tangible and intangible, both human-made and natural) through community based actions. The main project of INTACH Belgium is "The Lost Gardens of Khajuraho" (www.intach.be) : through the revitalization of some 12 unique 18th century royal domains in the Khajuraho region (aka Bundelkhand), a drought prone rural part of Madhya Pradesh (India), we try to preserve the local varieties of vegetables, grains and fruits, and to introduce the principles of conservation agriculture, organic farming and sustainable produce processing, starting from the age-old lore still (although only scarcely) present in the region. This involves training sessions for the local farmers in the use of local traditions for farming, cooking, curing diseases, traditional house construction. For the agricultural/horticultural part INTACH Belgium collaborates closely with the Navdanya movement of Dr. Vandana Shiva (www.navdanya.com).
Activités:
NTACH Belgium has set up the project of the Lost Gardens of Khajuraho (see www.intach.be). Before starting the actual restoration, an extensive oral survey amongst the local population has been carried out, revealing a wealth of local lore in the field of crafts, stories, cuisine, medicine. This knowledge is kept alive through training programs and educational workshops (in the local schools). Moreover, and more specifically, the search for old local varieties (adapted to the local - dry - growing conditions thanks to generations of seed selection) has brought to light local varieties of vegetables (onion/piyaz, red carrot/gajar, spinach/palak, rettich/muli, coriander/dhania, beans/sem, chili peppers/mirch, eggplant/bringal), fruits (papaya, mango, citrus) and grains (wheat/gehu, mustard/sarso, sesam/til). These varieties are produced by a network of some 75 farmers, and entered in our community seed bank, for the spread and use in the broader Khajuraho region.
Parallel, some studies have been made on the specific water harvesting system of Bundelkhand (with check dams, step wells and artificial lakes) and on the local rural architecture. The restoration of the buildings on the gardens is done strictly with traditional techniques and local labour. The farming in the project is also done strictly according to local tradition, and sometimes enhanced by similar traditions known through the Vedas. In 2010 we have published a book on "Conservation Agriculture" (in Dutch, English and Hindi) that has been promoted in India by INTACH, and in some regions of Africa and South-Amerika by Vredeseilanden/VECO.
In Belgium, a broader group of interested people is informed of these activities through our website (www.intach.be), including a facebook page, a 6 monthly newsletter, and regular activities (e.g. fundraising diner, presence on 4th pillar fairs, etc.).
Coopération:
Although INTACH Belgium is the main sponsor of the project, almost immediately at the start a close collaboration has been established with the Navdanya movement (see www.navdanya.org) of Dr. Vandana Shiva. Navdanya means 'nine seed' and refers to the basic philosophy of seed autonomy as the basis for a healthy farm economy. The Navdanya movement counts more than 200.000 farmers who have made the shift from western chemo-agriculture towards sustainable traditional agriculture. In the project of the Lost Gardens a Navdanya specialist, Shri Swatantra Kumar Tiwari, leads the group of local farmers. He is assisted by the Flanders based biodynamic farmer Johan D'hulster (see www.akelei-schriek.be).
The project itself is inbedded (and monitored) in the larger framework of INTACH (see www.intach.org), the largest heritage driven NGO of India with more than 140 local chapters all over India.
The involvement of the local people is very important. We employ 9 farmers (families) on a daily base in the two restored gardens; additionally the schools are very collaborative in the educational workshops; and a broader community awareness is raised by the local INTACH chapter, and by the support of the local Chief Municipal Officer.

Date de création: 2008
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- 1) to promote the importance of local governments and their relationships with their communities as a fundamental tool in safeguarding and promoting ICH, 2) to formulate the cultural policies of local governments for sustainable development through safeguarding and promoting of ICH

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- As the core membership of the ICCN is comprised of local governments, the ICCN can play a leading role in implementing cultural policies within legislation to safeguard and promote ICH.

Pays principaux d'activité:

Afrique du Sud, Algérie, Cambodge, Canada, Égypte, Espagne, États-Unis d'Amérique, France, Grèce, Hongrie, Israël, Italie, Jamaïque, Nouvelle-Zélande, Philippines, République de Corée, Tchéquie

Objectifs:
The ICCN (Inter-City Intangible Cultural Cooperation Network) is committed to actionoriented policies concerning for the safeguarding of the intangible cultural heritage, and agrees to:
1) promote the ICCN as a platform for the world-wide collaboration of mayors and local government units for the safeguarding of intangible cultural heritage, as envisioned in the Gangneung Declaration of 2004;
2) use the ICCN in formulating and implementing informed and balanced developmental and cultural strategies and policies in which sustainable development and the safeguarding of intangible heritage rank as priorities among local governments;
3) abide and implement in its role the UNESCO Convention for the safeguarding of the Intangible Cultural Heritage;
4) promote the relationship between local communities and local governments in regards
to the safeguarding of intangible cultural heritage, and to improve awareness as to why such relationships are fundamentally necessary;
5) utilize the ICCN as a means to meet the challenges of globalisation as then affect cultural diversity, and to preserve the cultural diversity of communities consisting of unique and invaluable local traditional cultures.

Based on these objectives, ICCN stipulates the following undertakings in the Statute:
1) to hold regular meetings to facilitate practical discussion, action plans, policies, and combined progress towards the safeguarding of intangible cultural heritage;
2) to gather and share information concerning safeguarding activities;
3) to train local government administrators, professionals, and custodians to build safeguarding capacity;
4) to hold joint activities, such as the World Intangible Cultural Heritage Festival (with the first to be held in Gangneung, Korea in 2012) that aims at promoting the multiple aspects of education, transmission, and revitalization of the intangible cultural heritage, and sustainable local development.
5) to facilitate policies and action plans between local governments and their communities in relation to the safeguarding of intangible cultural heritage.
Activités:
1) International meetings
The ICCN organizes the bi-annual Round Table of Mayors, the bi-annual Thematic Workshop, and the annual meeting of the Board of Directors to encourage and facilitate practical discussion on ways to improve the work carried out in the member localities to safeguard and promote intangible cultural heritage. Through these meetings, members share experiences, formulate ideas, and adopt new policies relating to the safeguarding
and promotion of ICH.

- Round Table of Mayors
.2004 (1 sI session, Korea): .Agreed on the need of an international organization for safeguarding ICH by local govenments at the global level
.2008 (2nd session, Egypt): .Discussion on "The role of women in safeguarding of traditional cultural heritage"
.Official declaration of the ICCN founding
.Adoption of the ICCN Statute (based on 2005 Charter)
.2010 (3ro session, Czech Republic ): Discussion on "State/Local Government's approach to ICH and the cultural policies of countries around the world"
.1 st ICCN Youth Forum, along with Mayor's meeting to involve youth in the safeguarding activities
.2012 (4th session, Korea): .1 st Joint Festival(World Intangible Cultural Heritage Festival with the participation of members, NGOs, practicioners, youth, communities among member cities around the world

- Thematic Workshop of Local Government Administrators
.2005 (1 st session, Korea): .Draft of the Charter containing the creation of the ICCN
.Discussion on "Sustainable development, safeguarding the ICH, and promoting Inter-City Network"
.2006 (2nd session, Korea): .Discussion on "Safeguarding of ICH and participation of young people"
.2007 (3rd session, Hungary): .Discussion on "Safeguarding of the ICH by building the network"
.2009 (4th session, Jamaica): Discussion on "Local government at the forefront of preserving our ICHlThe definition of community and its capacity building by local governments"
.2011 (5th session, France): .Strengthening of associate members in the ICCN
.Detailed plan will be follow in due course.
.2013 (6th session, Italy): .Joint activities with the city of Naples for the Universal Forum of Cultures, which is the international festival aiming at city revival through the use of cultural assets

- Meeting of the Board of Directors
This will be held on an annual basis to work as a driving force by deciding major plans for the ICCN, support mutual exchange of experience and best practices of individual Member States and municipalities in the care of cultural property and its promotion, transfer of local intangible cultural heritage to the younger generation, and cooperation
with local communities and individuals-bearers of such heritage.

- International Advisory Committee meeting
Through the composition in the ICCN Round Table of Mayors to be held in the Czech Republic in 2010, this committee will function as a consultation with members, and will provide expert advice to assist the ICCN in achieving its objectives. Its membership will be comprised of internationally and nationally recognized experts. It also will provide, on request, advice to members on drafting local cultural policy focused on safeguarding intangible cultural heritage.

- Youth Forum
It is an important task and the responsibility of local governments to nuture within young people an appreciation for, and an understanding of, the values associated with ICH.
Along with the Mayors' Meeting, the ICCN will organize a youth forum in cooperation with ICCN members in the Czech meeting in 2010. The Youth Forum will encourage local leaders to devise a legal and institutional framework for youth involvement in local contexts. This will contribute to the realization of the UNESCO Convention by building a greater awareness among the younger generation of the importance of ICH, and its need of safeguarding.

2) Cultural exchanges among members
The ICCN has been encouraging the exchange of folklore festivals and other cultural events among its members. The exchanges have been sucessfully accomplished among ICCN members. The Gannat Festival of France invited performers from Vlcnov of the Czech Republic, and Ifugao of the Philippines. The city of Gangneung of Korea invited cultural performers from the Philippines and Egypt during their annual festival.

The ICCN also encourages personal exchanges for sharing experiences relating to cultural policies in the development and safeguarding the ICH. As an example, Santa Fe (USA), one of the ICCN core members and a member of the Creative Cities
Network of UNESCO, participated in the international meeting hosted by Naples, another ICCN core member, to share their experiences in developing the city and its cultural heritage.

The ICCN considers such exchanges to be an important form of popularisation of the intangible cultural heritage of various communities and of learning about other nations. It is also believed that such exchanges contribute to the greater promotion of cultural diversity.

- Joint festival among members
The ICCN will hold a Joint Festival on a bi-annual basis, which aims at promoting education, transmission, and revitalization of intangible cultural heritage. The first one will be hosted by Gangneung, Korea in 2012.

3) Cooperation with international organizations/institutes
- Korean National Commission for UNESCO
The Korean Natcom has been a full partner with the ICCN since 2004, when the 1st Mayors' Meeting was oganized. It has continually played a crucial role in providing its expertise on the direction, policies of the ICCN. ICCN was a cooperative partner in the "International Forum on Common Intangible Cultural Heritage in East Asia" which was held in Korea in 2009. The ICCN meeting in the Czech Republic is under the auspieces of the Korean National Commission for UNESCO.
The ICCN organized an internation forum on the theme of "The Role of Culture, Administration and Business in Safeguarding and Promoting Intangible Cultural Heritage" in 2009, in Gangneung, Korea.

-Czech National Commission for UNESCO
The ICCN meeting in the Czech Republic is taking place under the auspices of the Czech National Commission for UNESCO. This Commission plays a key role in the implementation of the Convention on the Safeguarding of Intangible Cultural Property.

-Intangible Cultural Heritage Centre for Asia and the Pacific in Korea (Category 2 Center of UNESCO)
ICCN and ICHCAP in Korea signed a MOU agreement in July 2008 for mutual cooperation for the safeguarding and promotion of intangible cultural heritage.

-COPPEM (Standing Committee of the Partnership of the Euro-Mediterranean Local and Regional Authorities)
COPPEM and ICCN signed a MOU agreement in the ICCN Round Table of Mayors in Egypt, 2008. COPPEM, an international organization with 106 members including local authorities in the Euro-Mediterranean region, has been cooperating in
disseminating the importance of ICH among its members and encouraging participation in the ICCN meetings. ICCN and COPPEM are the partners for organizing the Youth Forum and the ICCN Joint Festival.

The ICCN was a cooperative partner of COPPEM in 2009 in the "Intercultural Dialogue Night" which aimed at promoting an intercultural dialogue between traditional and modern cultures among Euro-mediterranean cities.

4) Publications
- Meeting reports
After each meeting, the ICCN issues booklets containing the presentation materials, speeches, and useful information to share with members, partners, and various institutes around the world.

- Newsletter
The Secretariat has been issuing newletters on a quarterly basis to share information among members, partners, and networks around the world.

- Promotional material
As a means of promoting cultural heritage of members, the ICCN produces various materials such as calendar, and post-cards.

5) The website can be found at www.iccn.or.kr

Additional information:

1) International meetings
ICCN organizes bi-annual Round Table of Mayors, bi-annual Thematic Workshop to encourage practical discussion on how to improve the work of the member localities to safeguard and promote ICH. Through the meetings, members share experiences, formulate ideas, and adopt new policies at the local context relating to ICH. It contributes to the promotion of ICH at the global level.

- Round Table of Mayors
.2004 (Korea): .Agreed on the need of an international organization for safeguarding ICH by local governments at the global level
.2008 (Egypt):
-Discussion on "The role of women in safeguarding of traditional cultural heritage"
-Official declaration of ICCN founding
-Adoption of the ICCN Statute
.2010 (3rd session, Czech Republic ): Discussion on "State/Local Government's approach to ICH and the cultural policies of countries around the world".
- Thematic Workshop of Local Government Administrators

.2005 (Korea):
-Draft of the Charter containing the creation of ICCN
-Discussion on "Sustainable development, safeguarding ICH, and promoting Inter-City Network"
.2006 (Korea): .Discussion on "Safeguarding of ICH and participation of young people"
.2007 (Hungary): .Discussion on "Safeguarding of ICH by building the network"
.2009 (Jamaica): Discussion on "Local government at the forefront of preserving our ICH/the definition of community and its capacity building by local governments"

- Youth Forum
The first Youth Forum was held with the participation of students from Canada, Czech, Algeria, Korea along with 2010 ICCN Round Table of Mayors in Czech Republic. After the 1st presentation of the youth forum to ICCN members, the forum was adopted as a regular program of ICCN. The 2nd Youth Forum will be held in Gannat, France in 2011. It is an important task and responsibility of local governments to raise within young people an appreciation for, and an understanding of, the values associated with ICH. The Youth Forum will encourage local leaders to devise a legal and institutional framework for youth involvement in local contexts. This will contribute to the realization of the UNESCO Convention by building a greater awareness among the younger generation of the importance of ICH, and its need of safeguarding.

2) Cultural exchanges among members
ICCN has been encouraging the exchange of folklore festivals and cultural events among members. ICCN considers such exchanges to be an important form of popularisation of intangible cultural heritage of various communities and of learning about other nations, and to contribute to the greater promotion of cultural diversity.
The Gannat Festival of France invited performers from Vlcnov of the Czech Republic, and Ifugao of Philippines. The city of Gangneung of Korea invited cultural performers from Philippines and Egypt during their annual festival.
ICCN also encourages personal exchanges for sharing experiences relating to cultural policies in the development and safeguarding ICH. Santa Fe (USA), the ICCN core member participated in the international meeting hosted by Naples to share their experiences in developing the city and its cultural heritage.

3) Cooperation with international organizations
- Korean National Commission for UNESCO
The Korean Natcom has been a full partner with ICCN since 2004, when the 1st Mayors' Meeting was organized. It has played a crucial role in providing its expertise on the direction, policies of the ICCN. ICCN was a cooperative partner in the "International Forum on Common Intangible Cultural Heritage in East Asia" that held in Gangneung, Korea in 2009. The 2010 ICCN meeting in the Czech Republic was under the auspices of the Korean Natcom.

-Czech National Commission for UNESCO
The ICCN meeting in the Czech Republic in 2010 took place under the auspices of the Czech National Commission for UNESCO.

-Intangible Cultural Heritage Centre for Asia and the Pacific in Korea(Category 2 Center of UNESCO)
ICCN and ICHCAP in Korea signed a MOU agreement in July 2008 for mutual cooperation for the safeguarding and promotion of intangible cultural heritage.

-COPPEM
As an international organization with 106 members including local authorities in the Euro-Mediterranean region, COPPEM is in full cooperation with ICCN in disseminating the importance of ICH among its members. ICCN was a cooperative partner in the "Intercultural Dialogue Night" that aimed at promoting an intercultural dialogue between traditional and modern cultures among Euro-mediterranean cities.

4) Publications
- Meeting reports
After each meeting, the ICCN issues a booklet that includes the policies of local governments, and this could be a guiding book for the local authorities to implement cultural policies at the local context.

- Newsletter
The Secretariat has been issuing a newsletter on a quarterly basis to share information among members, partners, and networks around the world.

5) The website can be found at www.iccn.or.kr
Coopération:
ICCN members are closely linked to their communities and can provide the legislative direction, financial aid, and human resources needed to safeguard and promote ICH. The members also provide local communities with logistic and moral support in their effors to safeguard intangible cultural heritage.

The ICCN aids in facilitating bridges between local governments and their communities, thus establishing a mutual cooperation in the safeguarding of ICH at the local level.

ICCN members have at their disposal an enormous wealth of experience in the field of care of local intangible cultural heritage and relations with the communities that are its bearers. This means that the ICCN offers expert assistance in this regard to the Intergovernmental Committee for Intangible Cultural Heritage.

Additional information:

ICCN members have at their disposal an enormous wealth of experience in the field of care of local intangible cultural heritage and relations with the communities that are its bearers. ICCN members are closely linked to their communities and can provide the legislative direction, financial aid, and human resources, logistic and moral support in the efforts to safeguard intangible cultural heritage. Here are some cases of member cities of ICCN;

1) Case of Ifugao, Philippines
As an UNESCO Representative List, the Hudhud chant shows an excellent example that reflects the cooperation between the local government, and communities. To transmit the hudhud to the younger generation, the government provides funds for a teaching program so that the old professional chanters can train the volunteer teachers who will be the one to teach young children. The local government is in close coordination especially with the chanters to document their hudhud chanters. These documentation projects are used to make teaching modules for children in the elementary and high school.

2) Case of Gangneung, Korea
As an UNESCO Representative List, Gangneung Danoje festival has been transmitted in cooperation between the local government, and communities. The Gangneung municipality provides administrative support, and partly financial resources to the communities. Also more than 80 communities participate in the organization of the festival. In this process, there is a NGO committee that coordinate the smooth communication and cooperation between the two parties. This cooperation could be dated back to 500 years ago, and has been kept up to now.

3) Case of Generalitat Valencia, Spain
The School Museum of Pusol was selected on the Register of safeguarding programmes, project and activities of UNESCO in 2009. In the process of the project into one of the most representative ICH activities in the region, the Regional Government , Generalitat Valencia, has played a key role in supporting the institution. Since 1992, its Department of Culture has granted subventions to cover particular museum program and projects, including inventory, equipment, restoration, and research. Since 1998, the Education Department has provided teachers, duplicating the school staff, to meet the challenges posed by the success and development of the pedagogic project.

Date de création: 2008
Domaine(s):

- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- revitalization
- Fostering new economic activities for self-funding of intangible heritage manifestations.

Pays principaux d'activité:

Guatemala, Mexique

Objectifs:
Our objectives are:
To promote the safeguarding of the cultural heritage, mainly intangible heritage, in terms of language, cultural practices and cultural knowledge, and the museums which express de cultural diversity of México.
To work with communities to promote their development, empower their social cohesion, and their capabilities to establish a dialogue in a context of cultural diversity. Work is carried out with local (municipio) cultural practitioners and stakeholders.
To valorize intangible cultural heritage through registering, disseminating its expressions, and working with people working in the local arts and cultural rituals, and festivities and their relation to the environment. Also including Mexican migrants in valorizing, funding and promoting such local intangible heritage.

Activités:
The Association has been recently formalized but has been working for the past sixyears in three connected areas:
1. we have partnered with local people to register their rituals, including the Day of the Dead ritual and many festivities, as well as forming local committees to safeguard their intangible heritage.
2. through activities in the villages, including schools, we have held exhibits and meeting to help them develop local and migrant networks to fund activities and sustain traditional forms of their cultural celebrations.
3. we have also worked for several years with legislators in several states in Mexico, helping to develop laws on culture that incorporate the principles of the 2003 Convention for Safeguarding the Intangible Cultural Heritage and the 2005 Convention for Diversity, and we have worked very much with the difution and promotion of it´s principles.
4. we are working at present in setting up criteria and methodology to document and classify intangible cultural expressions as well as organizational procedures to help sustain and revitalize such expressions.

Coopération:
As an example, for the last four years we have worked in a region which has kept much of its indigenous and local heritage. Several young people from the villages were trained to be photographers in digital photos and their photos were exhibited in the villages and given to the persons who were photographed. Activities with them are continuing in order to create an archive of materials which they keep and which can show the whole range of rituals, including the Day of the Dead, festivals, including carnivals, social practices such as barter in the markets, and their views on how deforestion and diminished water supplies are affecting their ritual and festive life. Some 25 meetings have been organized with students and researchers to develop new methods to register and understand intangible cultural expressions and the challenges they face in a rapidly changing economic and social context. Mexican migrants have also been contacted to encourage their involvement with safeguarding of intangible cultural heritage in their home towns. Many meetings have also been held with state legislators to encourage that laws related to the safeguarding of intangible cultural heritage be passed and appropriate cultural policies at local level be established.

Date de création: 1967
Domaine(s):

- social practices, rituals and festive events

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement

Objectifs:
1. To represent falconry throughout the world. Falconry is the traditional sport of taking quarry in its natural state and habitat by means of trained birds of prey. It is a hunting art.
2. To preserve and encourage falconry within the context of sustainable use of wildlife.
3. To encourage conservation, the ecological and veterinary research on birds of prey and promote, under scientific guidance, domestic propagation for falconry.
4. To develop, maintain and amend national and international laws, treaties and conventions to permit the pursuit and perpetuation of falconry.
5. To require the observation of falconry, hunting, conservation and welfare laws, regulations, traditions and culture with regard to the taking, import, export and keeping of birds of prey, the taking of quarry species and the right of access to land in the country concerned.
6. To promote and uphold a positive public image of falconry with specialist organisation, which regulate or otherwise affect falconry.

Activités:
The IAF is a non-profit international association, which represents 69 falconry Member Organizations from 48 nations whose total membership exceeds more than 30,000 individuals worldwide. Regarding active membership, which forms a community linked by the desire to pursue the objectives for which it was established, the IAF Officers, Advisory Committee, and Council of Delegates meet at its Annual General Meeting to discuss matters of the association.
Representatives of the IAF have been active as members of the board of directors, participants and supporters of the Archives of Falconry (USA) and the Falconry Heritage Trust (UK). Many representatives of the IAF made presentations on the cultural tradition and history of falconry in their respective nations at the international conference held on September 12-15, 2005 in Abu Dhabi, UAE, for the proposal of falconry as an intangible cultural heritage by UNESCO. In July 2007, the IAF, along with many of its Member Organizations, attended the Festival of Falconry, in Reading, England, which united and presented the heritage of falconry for UNESCO recognition for representatives and interested festival attendees. The IAF will attend another Festival Falconry to be held for the same purpose in 2009. In November 2006, the entire Council of Delegates visited the Archives of Falconry where the greatest collection of falconry heritage materials exists in a single location in the world. The collection includes paintings, books, documents, and other literature, artifacts, and also the Memorial Sing dedicated to the memory of the founder of the UAE, Sheikh Zayed bin Sultan al Nahyan, which depicts the culture, tradition, and heritage of Bedu falconry in the Arabian Gulf.

Coopération:
Over many years the IAF, through various representatives, has intervened to protect the practice, tradition, and heritage of falconry where it has existed for centuries. IAF representatives have met with falconers, local, regional, and national government authorities, and at the international level in the European Union. We have provided expert advice in law and regulation, cultural practices, and heritage history, conservation and biological information, where appropriate, in the following countries most recently: Belgium, China, Denmark, Estonia, Kazakhstan, PMalta, Morocco, Netherlands, Scotland, Switzerland, Slovakia, Slovenia, Sweden, Turkey, Turkmenistan, UAE, and USA. Because many falconers of the world rely on birds of prey produced in captivity, we have intervened to encourage and support captive propagation throughout the world, including in Europe and North America. Similarly, where local falconers rely on raptors harvested from naturally occurring wild populations, the IAF has intervened to support wild harvest on the principle of sustainable use, as part of the nations' cultural and traditional practice of falconry.

Date de création: 2008
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- other
- Research, Education, Social Care

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- other
- Good practices in education and social care

Pays principaux d'activité:

Allemagne, Angola, Argentine, Brésil, Chine, Espagne, Estonie, États-Unis d'Amérique, Fédération de Russie, Finlande, France, Irlande, Italie, Japon, Mozambique, Pays-Bas, Pologne, Portugal, Roumanie, Suède, Tchéquie, Viet Nam

Objectifs:
The NGO is dedicated to the scientific study of proverbs. It mainly seeks to:
- encourage international cooperation in paremiology and related scientific areas;
- to establish programs of educational activities with public officials and the private sector;
- to encourage young researchers in protecting intangible cultural heritage;
- to organize conferences of national and international paremiology;and
- to promote studies in paremiology (study of proverbs).

Activités:
The NGO organizes conferences, exhibitions as well as pedagogical activities.
Coopération:
Cooperation with Embassies, of Poland, Germany, Finland, Australia, Serbia, Romania, Czech Republic, Croatia, Malta, Estonia, Municipalities, Librarie, Schools, Social Institutions, Universities, Foundations

Date de création: 1947
Budget: U.S.$100333
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Afrique du Sud, Albanie, Allemagne, Argentine, Australie, Autriche, Azerbaïdjan, Bangladesh, Bélarus, Belgique, Bosnie-Herzégovine, Brésil, Bulgarie, Canada, Chine, Chypre, Costa Rica, Côte d'Ivoire, Croatie, Danemark, Équateur, Espagne, Estonie, Éthiopie, ex-République yougoslave de Macédoine, Fédération de Russie, Finlande, France, Géorg

Objectifs:
The International Council for Traditional Music is an NGO in formal consultative relations with UNESCO. Through its wide international representation, it acts as a bond among peoples of different cultures and thus serves the peace of humankind.
Its aims are to further the study, practice, documentation, preservation and dissemination of traditional music and dance of all countries.
Activités:
The International Council for Traditional Music organizes World Conferences, Symposia and Colloquia, publishes a peer-reviewed journal Yearbook for Traditional Music, distributes the online Bulletin of the ICTM, and maintains an Online Membership Directory.
Study Groups are comprised of members in a common area of scholarly study. Currently there are 18 active ICTM Study Groups, on African Musics, Applied Ethnomusicology, Ethnochoreology, Folk Music Instruments, Historical Sources of Traditional Music, Iconography of the Performing Arts, Maqām, Mediterranean Music Studies, Multipart Music, Music Archeology, Music and Dance in Oceania, Music and Dance in Southeastern Europe, Music and Gender, Music and Minorities, Music in the Arab World, Music of the Turkic-speaking World, Musics of East Asia, and Performing Arts of Southeast Asia. Study Groups are an essential part of the ICTM. They hold periodic symposia and publish the results of their ongoing research.
Colloquia have been organized by invitation since 1981. These events focus on selected themes intensively discussed by smaller groups of scholars and representatives from related fields.
ICTM world conferences are held biennially and offer the general membership and the public opportunities for exchanges on a broad scope of issues. The 2015 world conference will be held in Astana, Kazakhstan. The last five world conferences were held in Sheffield, U.K. (2005), Vienna, Austria (2007), Durban, South Africa (2009), St. John’s, Canada (2011), and Shanghai, China (2013).
The ICTM has edited the CDs of the UNESCO Collection of Traditional Music from 1995 until it came to an end in 2005. The ICTM secretariat and ICTM members were actively involved in the process of evaluating the applications for the Masterpieces of the Oral and Intangible Heritage of Humanity, and afterwards they have served in the Consultative Body of the Intergovernmental Committee for the Safeguarding Intangible Cultural Heritage, which examined nominations for the Urgent Safeguarding List, requests for the International Assistance and proposals for the Register of Best Safeguarding Practices.
The Yearbook for Traditional Music, a referenced scholarly journal, is published annually and carries essays, reviews and reports in the area of traditional music and dance for its international readership. It was established in 1949 as the Journal of the International Folk Music Council.
The Bulletin of the ICTM appears three times a year (January, April and October) with ICTM news, calendar of future events, and reports from Study Groups, National and Regional Committees and Liaison Officers. It was established in 1948 as the Bulletin of the International Folk Music Council.
The ICTM website provides the most current information on ICTM conferences, Study Group Symposia, Colloquia in preparation, and recent publications. Members may access the frequently updated ICTM Online Membership Directory, apply for membership and submit inquiries to the ICTM Secretariat at the website.
Twelve Executive Board members are elected by the ICTM members during the world conferences and they include a President and two Vice Presidents. The Secretary General is appointed by the Executive Board and assisted in the Secretariat by an Executive Assistant. Since 2011, the Secretariat is located in Ljubljana, Slovenia. The ICTM has members in all states parties from the Electoral Group II except the Republic of Moldova, as well as in many other countries around the world (103 as of June 2014).

Coopération:
Most ICTM members do fieldwork in communities in rural or urban areas by participating observation. Many take music and dance lessons and participate in performances of the music and dance they study.
Furthermore, ICTM members act as liaisons between performers and performing venues all over the world. They quite often assist communities in getting access to audiovisual recordings, and increasingly assist them in making their own audiovisual recordings and establishing documentation centers.
Through its publications, the ICTM facilitates the exchange of information, and thus contributes to the promotion and awareness-rising on the importance of intangible cultural heritage. All activities are based on the principle of partnership with communities, groups and/or individuals concerned. ICTM members, organized in National and Regional Committees, are in various capacities involved in the implementation of the 2003 Convention on local, national, regional or international levels, including the participation in the ICH NGO Forum. They are particularly active in projects that aim towards documentation, research, promotion and revitalization of intangible cultural heritage.

Date de création: 1970
Budget: U.S.$55000
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship
- other
- Funeral heritage and religious practices

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement

Pays principaux d'activité:

Afrique du Sud, Australie, Cameroun, Chine, Congo, Inde, Indonésie, Japon, Kenya, Malaisie, Maroc, Mongolie, Népal, Nigéria, Nouvelle-Zélande, Ouganda, République de Corée, Sierra Leone, Singapour, Thaïlande, Togo, Tunisie

Objectifs:
OBJECTIVES of FIAT-IFTA: ARTICLE II; Section B and F:
B. To research and jointly study legal, moral, social and scientific issues relating to funeral services and thanatology activities, especially with regard to services rendered in the memorialization and disposition of deceased individuals;
F. To safeguard the Global Funeral Heritage in joint effort with other organizations and to create awareness in governments and international bodies;
Based on Section Band F, FIAT-IFTA as an umbrella organization cooperates, finances activities of partner organizations (ex.ASCE, ALPAR, China Funeral Ass.,Funeral museums) to safeguard traditions like dances and chants related to mourning and death; and encourages studies, research and publications on these subjects. In line with the Convention FIAT-IFTA members promotes awareness and knowledge of these practices among young persons.
EXEMPLE I of the concept: 'global funeral heritage' as meant by FIAT-IFTA in conformity with the spirit of the Convention on Intangible Cultural Heritage is the report on 'social pratices, rituals and festive events' made by one of our Members Mrs. Teresa Saavedra, ALPAR- Latinamerican Funeral Association:
Las Ñatitas: The Ritual Beyond Death in Bolivia
It is understood that our sense of belonging, as a human characteristic, is the total sum of all those symbols, beliefs, values, traditions and rituals - which fused together result in our cultural identity.
To this effect, it has been put forth, that the definition of "Funeral Heritage", consists of "the expressions, customs, rituals, sites, buildings, constructions and instruments related to death, loss and grief'.
The challenge of working in this area, has led us to generate a series of meetings with authorities and institutions such as the Ethnographic and Folklore Museum, MUSEF in Bolivia, which depends on the Cultural Foundation of the Bolivian Central Bank. MUSEF is one of the most representative organizations in this country, where its archive, one of the very few of its kind, guards very rich informative, historical and cultural data. This material in turn, reflects the socio-cultural processes that have been lived throughout Bolivian history - by its "living cultures" in rural as well as in urban areas. It also serves as the initiation for current and future studies in Anthropology, Ethnology, Ethno History, History, Sociology, Cultural Studies, Ethnomusicology and other research areas. During conversation with MUSEF's Director, Ramiro Molina, we coincided on our shared interest of studying the possibility of generating a referential framework, which would allow us to find common ground for future collaboration.
www.musef.org.bo
Inside MUSEF's department of Cultural Outreach and Communication, its head, Mr. Milton Eyzaguirre, shares with us some of the very particular hues of the perspective of certain festivities through the eyes of Andean and Bolivian culture:
"Since Pre Hispanic times, the physical and spiritual care of the deceased was of vital importance. Mummification was a common practice; the body was treated with abundant care and devotion. Life in the other world was transcendental; there were two dimensions of life: life at the physical level and life in the space of the dead. Therefore, in the country's local context, the Catholic dates for remembering All Saints and the Faithfully Deceased on November 1st and 2nd, are celebrated together as the return of the souls of all those deceased. In this context, the celebration is not only on those specific dates but it involves the whole month of November, with dedication to the "sullca" god - a minor or small god.
Furthermore, Mr. Eyzaguirre's investigations show specifically those customs related to the Day of the Dead - "the ritual of sharing food with giving the dead and their souls a meal, a feast. Today, almost all traditions of eating and drinking with the dead have been maintained to this day, as it is observed in Fiesta de Todos los Santos y de Las Ñatitas, where every November 8th, a traditional takes place, where human skulls are adorned with flowers and are taken to cemeteries and churches to be blessed. There is no precise data for the origin of the "riatitas", other than that they originated during pre-Columbian times. The La Paz native "amauta", Sabino López, confirms this fact in his account that before the Spanish conquistadors set foot on the American continent, the "Chullpas", mummified remains of "curacas"(chiefs) were worshiped. To this effect, the skulls deeply related with the soul or "ajayu" in Aymara according to Andean concepts - the body's death is not necessarily related to the death of the spirit of the deceased. It is in this context that the "ñatitas" represent Andean deities, to whom favors are solicited, some are named according to their origin and others are given pseudonyms".
The Bolivian Ambassador to UNESCO, Pablo Groux, mentioned "for a long time the festival of the "ñatitas" has been a celebration beneath the surface, underground, but in the last years it became very well known, due to in large measure to more massive means of public information. There is a great need to preserve it, in spite of some resistance by the church, which has been already dealt with. At this moment it is vital to dig in and study the ritual and its anthropological implications".
The material for a anthropological and historic research is extensive, in the quest to fully understand these traditions and rituals. But the importance of preservation remains the paramount endeavor, in the desire that all efforts are conducive to the collective protection and preservation of this patrimony.
We are certain that access and sharing this research material, is a positive way to raise awareness in the subject of cultural heritage safeguarding.
Our deepest appreciation to MUSEF and its Director, Mr. Ramiro Molina, for allowing us the possibility to look for common platforms for us to work in the future - looking to build new synergies with a multitude of actors and places, in lieu of proposing positive and pragmatic conservation strategies and solutions.
EXEMPLE II ( performing arts):
MUSICA AND MEMORIA: Study and Collection Mourning Music of the FIAT-IFTA Member:
Bunderverband Deutscher Bestatter:
Mourning music plays a central role through the centuries in all culture areas. It was composed not only for famous personalities. Frequently it is also expression of a personal processing of the mourning.
The CD collection "Musica et memoria "is far more than a pure documentation of the development of the mourning music from the Middle Ages to today. For the first time the broad spectrum of the mourning music is comprehensively opened. The selected music pieces show that mourning music does not have to sound inevitably quietly, reserved or sad. Thus the spectrum of the CD of gentle and beautiful death reaches over defendant and marching death up to uncompromising and clarified death. In one handbook worth reading the music pieces are opened so that mourning music in completely new light appears.
The project singular on the music market, which was initiated by the board of trustees of the German funeral cultural association, member of FIAT-IFTA, could close a research gap in the music science in co-operation with the Robert Schumann university in Duesseldorf also. "Musica et Memoria "offers just as affecting as surprising listener life nit for all, which are interested vocationally or privately in mourning music - in music lovers just like for all those, which are responsible for the organization of funeral services.
Musica et memoria Mourning music by the centuries Funeral Music through the centuries
Düsseldorf 2005, 6 CD, running time: 360 minutes.
MANY OF OUR NATIONAL AND ASSOCIATE MEMBERS PUBLISH AND WORK IN THIS FIELD FOR MANY YEARS.
EXEMPLE III (awareness and consistency with the definition of safeguarding):
One of FIAT-IFTA's partners is ASCE: Association of Significant Cemeteries in Europe. Actual President of ASCE: Mrs. Luiza Izaguirre Member of the FIAT-IFTA Funeral Heritage Advisory Committee ( see section 6c) promotes the awareness to safeguard the traditional craftmanship to preserve and maintain the European tradition of graveyards and gravestones in cooperation with many city councils and local authorities in Europe.
This is done for exemple by the publication of the book: Cemeteries of Europe - A Historical Heritage to Appreciate and Restore. A SCENE project by Mauro Felicori & Annalisa ZanottLPublished 2004
Creating awareness by publications and organizing meetings is one of the tasks of the FIAT-IFTA Funeral Heritage Advisory Committee.
FIAT-IFTA acts as an umbrella organization for financing and promoting the safeguarding and preservation of the Global Funeral Heritage:
FIAT-IFTA Charter of Funeral Heritage - Barcelona 2006
ALPAR Declaration of Funeral Heritage - Bogota 2010
Foundation by FIAT-IFTA of IAFM - International Association of Funeral Museums
FIAT-IFTA Conference on the Safeguarding and Preservation of Global Funeral Heritage, Düsseldorf, Germany 2010, Bogota, Colombia 2011 and Dublin, Ireland 2012
Publication of the biannual Funeral heritage Report
Annual meeting FIAT-IFTA Funeral heritage Steering Committee since 2006 in Chantilly, France
International Funeral heritage Expert Advisory Committee.
Activités:
Members of the FIAT-IFTA Funeral Heritage Advisory Committee:
1 - IRELAND, Name: Prof. Dr. Peter Harbison,Profession: M.RI.A., F.S.A. (Fellow Society of Antiquaries of London), H.R.H.A. (Hon. Member Royal Hibernian Academy), H.F.T.C.D.), Member, Royal Institute of Architects of Ireland.
Activities: History Professor, Member of Glasnevin Trust Board (National Cemetery of Ireland)
Publications: Has worked for many years as archaeologist. Honorary Academic Editor of the Royal Irish Academy, Honorary fellow of Trinity College, Dublin and an Honorary Member of the Royal Hibernian Academy. He has written widely on Irish Art and archaeology, including Guide to Historical Monuments of Ireland (1970), The Archaeology of Ireland (1976), The High Crosses of Ireland (1992), Treasures of Ireland (2003) and a number of books on eighteenth century drawings of ancient Irish Monuments.
2 - FRANCE: Name: Mme Muriel Ghys:Profession et activités: Conseiller et formateur dans le secteur funéraire.Depuis 18 ans chargée des relations internationales au sein de AMFN, dont le but est de faire connaitre le patrimoine funéraire.
Compétences : Vingt ans d’expérience dans le domaine funéraire professionnellement, spécialiste du domaine des rituels funéraires et du deuil.
Publications: Petit Guide des Rites Funéraires - de nombreux articles dans la presse professionnelle
3 - GERMANY Name: Dr. Rolf Lichtner,Profession: Director of Kuratorium Deutsche Bestattungskultur eV.; Secretary General of Bundesverband Deutscher Bestatter; Director of Fachverlag des deutschen Bestattungsgewerbes GmbH
Activities: Responsible for conferences and seminars in Germany concerning funeral heritage; cooperation with and sponsorship for universities, museums for sepulcral culture and comparable institutions; publications for the funeral branch, e.c. mourning music
Publication(s): Author and/or publisher of numerous articles and books concerning all issues of funeral heritage
4 - RUSSIA Name: Dr. Sergey Yakushin, Profession: Funeral Director, Thanatologist, researcher University of Novosibirsk,
Activities: founder of Novosibrisk Crematorium, Novosibirsk Memorial Park, Museum of World Funeral Culture (Novosibirsk, Russia), publisher in Funeral Home Journal (All-Russia funeral magazine), Academician of European Academy of Natural Sciences, Member of the Artists Union of Russia,
Publications: Articles on Funeral Apparel an Attire and Russian Mourning Music in Funeral Home Journal, owner of the Russian Funeral Attire Collection
5 - LATIN AMERICA Name: Mr. Jorge Luis Tamayo Gaviria, Profession Economist UNAULA, Autonomous Latinamerican University, Colombia, Researcher University of Antioquia, Colombia
Activities: Founder and President of ALPAR, Latin American Association of Cemeteries and Funeral Services, 1988-2003 University Professor of Microeconomics and Macroeconomics, UNAULA and Universidad Cooperativa INDESCO, Specialist on Latinamerican Funeral Traditions
Board Member of:Parque Cementerio Jardines de la Esperanza (Manizales - Colombia),Parques Cementerio Jardines de Esperanza (Cucuta, Bucaramanga, Ocana - Colombia),
6 - PR of CHINA Name: Mr. Xin Bingyong, Director of the Longua Funeral Museum in Shanghai
Activities: Preservation of Foreign Funeral Sites in Shanghai
Publication: Catalogue of the collection of the Shanghai Longua Funeral Museum
7 - SPAIN Name: Mr.Fernando Sanchez Tulla, Profession: Director Museu de Carosses Funebres;
Activities: Funeral Services, Cremation, Cemeteries, Coffin Production and Repatriation. Member of EFFS (European Federation of Funeral Services) Funeral Culture Working Committee;
SPAIN Name: Ma Luisa Yzaguirre ,Profession: Current President ASCE (Associationi Significant Cemeteries of Europe) ;Publications: Articles about European cemeteries in specialist magazines, Lectures about funerary heritage in specialist exhibitions, (Valencia, Dusseldorf, Bologna, and Moscow),Lectures in specialist workshops in cemeteries and funerary heritage, Meetings and conferences with European Institute of Cultural Routes in order to get ready the European Cemeteries Route.
8 - CANADA Name; Mr. Yoland Tremblay, Directeur Cimetiere Notre Dame des Neiges and the preserved historique site of La Fabrique de la paroisse Notre Dame de Montreal.
Various publications on the subject.

EXEMPLES ILLUSTRATING EXPERIENCE IN SAFEGUARDING:
FIAT-IFTA promotes together with the French "Les Amis Du Musée Funéraire National" the founding of a French Funeral Museum in Paris in order to be able to exhibit among other artifacts the unique historic collection of "Faire Part de Décès et Cartes de Condoléance". At the moment this collection can not made accessible to the public because the French Funeral museum lacks exhibiting space and funds for the conservation of this collection. ## Ongoing activity started in 2008 ##
1978 the founding of the Shanghai Funeral Museum and financing of the archeological excavacations of historic Shanghai burial sites. Preservation of the funeral and burial customs in the region of Shanghai.
June 2002 organized by partner ASCE - Ass. of Significant Cemeteries in Europe: workshop to introuce a comparative approach concerning conservation and restoration techniques
June 2004 organized also by partner ASCE to create awareness: 'Week for Discovering Funeral Art in Cemeteries'
1995 Partner of FIAT-IFTA: Funeral Association Therebint: "Studies on Vanitas and Funeral Symbols and Burial Monuments.
Coopération:
FIAT-IFTA as umbrella organization: Collaboration with and support of specialised organizations such as:
- Association 'De Terebinth Funeral Culture, The Netherlands ,Excursions, Newsletters, lobby activities with the government
- ASCE - Creation in 2001 of the European Cemeteries Route as a tourist itinerary. The significance of the European Cemeteries Route resides in its multicultural diversity and respectful approach of the dead. Cemeteries are part of our tangible heritage, for their works, sculptures and engravings. Likewise, cemeteries are part of our intangible heritage, of our anthropological reality, giving support to the environment surrounding the habits and practices related to death.
Lectures on: "Significant Cemeteries in front of new social habits" (Cremation, new kinds of graves, different cultures "by Javier Rodriguez Barberan (President of the Scientific Committee of the Cemeteries Route).
- National Funeral History Museum in Beckton, UK
- Exhibition 2010, Germany: "Schwermut und Schonheit, Trauerkleider"
- Permanent Exhibition and preservation by World Funeral museum in Novosibirsk of the Collection of Russian Funeral Costumes
- Exhibition of "Medaillons and Poems for the Deaths", Funeral Museum, Houston, USA
- Exhibition in Museum Tot Zover, Amsterdam, The Netherlands: Ancient Prints of the Last Journey of Napoleon; Preservation of the Collection Jol
Many publications in the FIAT-IFTA magazine: THANOS Magazine. Some exemples: Illustrations on Cinerary Urns in Japan, June 2007. Mortality and Rituals in Burma, October 2003. Traditional Burials in Sumba, Indonesian Island 2001
Publication by FIAT-IFTA member: Radbout Studies: 'Mortuary Rituals in the Netherlands', March 2009
FIAT-IFTA inventarises all these activities and aims to advise UNESCO on this specific field of Funeral Heritage.

Date de création: 2006
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

République de Corée

Objectifs:
- To strengthen activity and human network for members
- To build the network for international mask arts & culture based on this organization
- To heighten culture related masks
IMACO aims to:
i) to keep in contact with people related to masks all over the world and region,
ii) to develop connection and friendships among member organizations,
iii) to inherit and develop mask arts & culture of each country based on the cultural diverse of UNESCO,
iv) to promote mask art activities all over the world.
Activités:
The activities of IMACO are:
(a) to arrange world mask culture heritage movie contents materials
(b) to work for making contents using IT skill such as 3D scanner
(c) to build a network system with world mask culture organizations, research centers, person
(d) to publish magazines for the variety of world mask culture
(e) to support world mask related festivals
(f) to support world mask related exhibitions
(g) to Support world mask related creative activity
Coopération:
The IMACO’s main mission is to foster international cooperation between relevant organizations of Mask Arts and culture for the exchange of information and knowledge concerning the safeguarding of tangible and intangible culture of Mask. The construction of a portal website will make it possible to create an international pool of Mask culture -related experts and authorities who will have the opportunity to exchange information online and access a variety of materials of mask culture.
IMACO futher aims to:
- Construct an international cooperative network among various stakeholders such as practitioners, experts and officials from the field of Mask arts and culture.
- Utilize the above network for carrying out joint programs, projects and research for the safeguarding of Mask arts and culture.

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Safeguarding through use of IP law tools

Objectifs:
IOV is a worldwide organization of individuals and institutions organized for the purposes of documenting, preserving and promoting all forms of folk art, both tangible and intangible. The UNESCO Convention on the Safeguarding of the Intangible Cultural Heritage, with an emphasis on inventory making, research and documentation, is the frame of reference for many IOV projects and programs.
IOV encourages and supports scholarly and scientific research, documentation and publication on topics related to all five domains of the ICH; supports national and international folk art festivals and events; and coordinates exchanges among practitioners of folk art, including performing folk arts troupes and handicraft artisans; Through its commissions, IOV coordinates the work of experts worldwide in performing arts, crafts, festivals and events, traditional food, oral traditions including folk tales myths and legends and folk costumes
The objectives of the IOV International Commission on Scientific Research, with regional and national commissions in many areas and countries, include bringing together leading experts in folk art to collaborate on projects, symposia and conferences and publish proceedings on conferences and symposia. Through its scholarly journal Folk Culture, published quarterly in Bahrain and distributed to universities, libraries and cultural centers worldwide, the Commission on Scientific Research provides a forum where experts may submit for publication important works on folk art, folk culture and other topics within the domains of the Intangible Cultural Heritage. Similar publications, as well as a newsletter either are, or will soon be, published in the languages of UNESCO. IOV believes that in order for the intangible cultural heritage to survive, it must evolve and meet the needs of people today. Consequently, IOV supports innovative ways to interest the youth in folk dance, music, song and costumes as a way of preserving and promoting folk art and ICH
IOV encourages democracy by requiring open elections of officers, executive board and presidential council members. Policy is made by the Presidential Council and ratified by the General Assembly. Officers and members of the Executive Board and Presidential Council are elected by the General Assembly. National sections hold democratic elections every two years.
IOV recognizes the importance of preserving folk culture and intangible cultural heritage by seeking to involve a broad coalition of individuals and organizations at all levels of society and from all strata of the population. To accomplish this objective, IOV has implemented a policy of nondiscrimination that welcomes all who wish to participate. Membership fees accommodations are given to those who are financially disadvantaged. IOV adheres to the WANGO Code of Ethics, adopted in 2008. A principle objective is to cooperate and coordinate our work with that of other NGOs in order to avoid duplication, as well as to conserve human and financial resources.
IOV encourages youth participation through its International Youth Commission, which currently includes over 120 members from 45 nations. World youth congresses are held biennually. The first was in 2008 and the second will take place in 2010 in Nanjing, China. IOV members commit to support the objectives of both UNESCO and IOV.

Activités:
IOV FIRST WORLD YOUTH CONGRESS: Bountiful, Utah, August 2008 brought together 120 young delegates and 350 observers from 40 nations for five days of lectures, demonstrations and workshops on ICH. The theme was "Living Traditions: Safeguarding the Intangible Cultural Heritage." Fifty lectures and presentations focused on the 5 domains of ICH, traditional knowledge and Expressions of Culture were presented. A folk art festival attended by over 12,000 plus 350 folk dancers and musicians from 10 nations provided a venue for presentation of folk art; HIGHLIGHTS included exhibits from China (Nanjing YunJin Silk Brocade Research Institute) and Azerbaijan (National Culinary Institute of Azerbaijan).
During the past four years, IOV has opened offices with full or part-time paid staff in Bahrain (2007), Nigeria (2005), USA (2009), and China (2009) Beijing, Shanghai, Nanjing). Offices with part or full-time staff continue to operate in Brazil, Russia,
The Secretariat, in Austria, is staffed by the Secretary-General, a full-time Assistant, one part-time Bookkeeper and a part-time Treasurer. Since the death of IOV Founder Alexander Veigl in December 2008, the Secretariat has given priority to the job of updating membership data.
2009, IOV national sections established in Spain, Costa Rica and Puerto Rico.
2009, CONFERENCE ON FOLK TALES, MYTHS AND LEGENDS, held in Manila, Philippines with international participation explored ways of identifying and preserving oral traditions. IOV publishes an extensive calender of folk festivals each year, publishes a semi-annual newsletter, maintains a web site at www.iov-world.com and will soon open an online folk art market for selling handicrafts (proceeds to support the crafts makers). Similar activities are carried on in national sections.
2009, PEACE IN THE AMERICAS Conference and Youth Forum, to be in Santos, Brazil in August 2009, organized by ABROSOFFA, the IOV Brazil National Section. Representatives from 15 countries will explore the theme "Achieving a Culture of Peace: Folk Art Projects that Work."
2007-2009 IOV Quarterly Journal "Folk Culture," a peer-reviewed Arabic language, academic and scientific journal published in Bahrain (abstracted in English and French), is devoted to ICH of the Arab States. Now in 9th edition. Support is provided by the King of Bahrain, Ministry of Information, and the IOV Regional Office for the Middle East.
2009, in April, IOV held joint meetings with The National Folk Organization of the USA (2009).
2010, IOV INDIA CONFERENCE ON THE INTANGIBLE CULTURAL HERITAGE being organized in Baruda, India in October 2010 by IOV India, with cooperation of the Indian National UNESCO Commission, Universitiu of Baroda, Prof. Dr. Parul Shah, Chair.
2007, IOV World Congress and General Assembly in Volos, Greece, 2007, organized by IOV Hellas Section, brought representatives from 80 nations together to approve new IOV projects and the annual budget, and to elect officers and directors. An international conference on the topic "Cultural Dialogue In the Context of Globalization" was held concurrently with the GA, which included performances by folk art troupes.
2009, IOV received trademark protection for its name and logo from the US Patent and Trademark Office in June, 2009.
2009, IOV China Section was officially established with a full-time Executive Director and four paid staff members. Significant recent accomplishments in China include:
- 2009, the IOV China Section was founded and legally recognized;
- 2008, Youth delegation of 12 individual participate in First IOV World Youth Congress, in Utah, USA;
- 2008 Nanjing YunJin Brocade Brocade Research Institute received a delegation from IOV to consult on ICH project;
- 2008 Nanjing YunJin participated in an IOV sponsored exchange with the USA and sent a loom and delegation to demonstrate silk brocade weaving at the IOV World Youth Congress in Utah, USA;
- 2008 IOV Secretary-General Hans J. Holz becomes the 69th torch bearer in Olympic Relay in Nanjing, China by invitation of Beijing Olympic Committee;
- 2009, City of Nanjing agreed to host the Second IOV World Youth Congress in October of 2010 with budget of approximately $US 200,000.00 and participation of 300 youth from 150 nations;
- October 2009: IOV China will host a conference with the theme “Protecting the Endangered Cultures of Minority Populations” in Chengdu. IOV China Section will bring to China approximately 30 experts to present papers and participate in discussions.
In 2008, IOV Established an International Commission on Traditional Theatre chaired by Valery Khazanov (Russia). In July of 2009, the IOV Scientific Research Commission for Central Europe will meet in Belorus and approve its working plan for 2009-2010.

Coopération:
IOV has thirty years of experience cooperating with national UNESCO commissions other NGOs working in the Culture Sector. In particular, IOV has supported the work of academicians, scientists and professional folklorists from the time the first IOV Science and Research Commission was founded 20 years ago. In 2005, IOV had, as members of 17 commissions, 280 professional folklorists and academic experts specializing in traditional food, handicrafts, dance research, traditional music, puppetry, theater, myths and lengends, and other categories within ICH. (These commissions exist now on the national and regional level as a result of a decentralization in 2007). Many of these individuals had the backing of universities and institutions, which frequently are IOV's partners in organizing conferences and lectures. IOV has also worked with governmental bodies to sponsor folk dance and music festivals, as well as other folk art events.
IOV's mission, in part, is to help smaller or less well established NGOs working in the areas of folk art further their missions. IOV has also cooperated with large NGOs. IOV held joint meetings with CIOFF in 2005, organized by the Russian National House of Folk Art, which represents both organizations in Russia. On the national level, particularly in the area of festival organizing, IOV and CIOFF work together. ;
IOV works closely with national UNESCO Commissions in many countries where it is not uncommon to find the same individuals working in both organizations. For example, in the Philippines, IOV President Carmen Padilla is also the head of the Cultural Section of the Philippine National UNESCO Commission. In Bulgaria, Prof. Mila Santova has been head of the Bulgarian National UNESCO Commission and Chair of the IOV Science and Research Commission. Elvira Kunina is head of the Russian National UNESCO Commission and Vice-president of IOV. In 2005, she arranged a joint meeting of IOV and CIOFF in Novgorod.
In the USA, there is a close cooperative relationship between the National Folk Association and IOV. In 2008, the two organizations worked together to sponsor an international conference on Safeguarding the Intangible Cultural Heritage where 40 countries sent participants. In Bulgaria, Dr. Mila Santova, an IOV member and co-chair of the IOV Scientific Commission has led efforts to create the national inventory of ICH. In the Philippines, IOV recently co-sponsored a conference on folktales, myths and legends together with the Philippine National UNESCO Commission. IOV has had similar success working with national UNESCO commissions in Romania, India, South Korea, and other countries. In China, the China Federation of Literary and Arts Circles, CFLAC, and IOV have worked together to organize folkloric festivals in various parts of China, including Beijing, Xian, Hongzhou, Weifang, Boashan and Shanghai.
IOV National Sections should report to their National UNESCO Commissions at least annually. In 2009, IOV submitted its annual report to UNESCO Director General, ICH Section, Culture Sector, NGO Relations, US National UNESCO Commission, the Philippine National UNESCO Commission, and others. IOV works with many national and international NGOs, IGOs and private enterprise to support events and projects in a number of countries.
Through a Scholarship named to honor the founders of IOV, deserving young people who are economically disadvantaged are given assistance for travel to conferences that will further their careers in folk art.

Date de création: 1952
Domaine(s):

- knowledge and practices concerning nature and the universe
- other
- Supporting and promoting relevant social science research in above fields via ISSC Member Associations which are disciplinary international associations

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)

Objectifs:
The social and behavioural sciences are those disciplines that develop and test models
and interpretations of individuals and society in order to explain how humans behave
and change in interaction with each other and with the natural world.
The mission of the ISSC is to advance the social sciences – their quality, novelty and
utility – in all parts of the world.
The ISSC works
• to advance social science research across national and regional boundaries;
• to support social science capacity building, particularly in countries and regions
where it is currently not well developed;
• to provide a central clearinghouse for the collection, interpretation, analysis and
dissemination of data on social science resources, their availability for research and their
impact on society;
• to broaden interdisciplinary collaboration among the social sciences;
• to expand exchange and joint work between the social sciences, the humanities
and other sciences;
• to link social science knowledge effectively to public policies and local needs in
order to improve the quality of people's lives; and
• to promote the social science literacy of citizens.
Intangible cultural heritage as defined in Article 2 of the Convention and as manifested in
the domains of oral traditions and expressions, social practices, rituals and festive
events, knowledge and practices concerning nature and the universe, are fundamental
to the concerns of the international social science associations that are members of the
International Social Science Council. These associations represent important disciplines
such as sociology, anthropology, psychology, legal science, political science, economics
and geography. These social science disciplines have the research tools,
methodologies, concepts and instruments to help safeguard intangible cultural heritage,
in terms of formulating and proposing measures and policies to ‘ensure the viability of
the intangible cultural heritage’. In addition to the work of ISSC disciplinary associations
are the ISSC international interdisciplinary scientific programmes on global
environmental change, which is concerned with environmental protection, on poverty
research, on ethnic conflict resolution, as well as on global social change and gender.
The work done as part of these programmes is implicated in important ways in the
promotion, protection, research, preservation of intangible cultural heritage. Finally, a
number of the national academies of science and social science research councils that
belong to the ISSC are directly involved in the identification, documentation, and
research of ICH and in proposing ICH to Unesco.
ISSC expertise and activities in the field of ICH draws on the Council’s membership and
hence is embedded in a global social science network. It is consistent with the spirit of
the Convention and very much relevant to the implementation and monitoring of the
Convention.
Activités:
Firstly,ISSC has formal associate relations wiht UNESCO. Within this context, its
relations, objectives/activities are all intended to help in the implementation of UNESCO
objectives. The ISSC has identified the following priority actions to address each of the
objectives it has set itself for the period 2007 to 2010:
1. A pressing goal for the ISSC is to establish a strong presence and authority for the
social sciences, so that national and world leaders take account of social science
findings and their relevance for the issues with which they struggle. To this end, the
ISSC will prioritise the following two actions: (a) Launching a World Social Science
Report Series and a World Social Science Forum. WSSF will also provide researchers,
decision makers and other stakeholders with a global platform for addressing issues
relevant to ICH and (b) Engaging and advising international decision makers from the
United Nations Organisation and its associated agencies, as well as other regional and
global organisations such as the OECD, IMF and the World Bank, the European Union,
African Union, NAFTA, ASEAN and Mercosur
2. Social sciences in developing and transition economies - Assisting the positive and
rigorous development of the social sciences in developing and transition economies is a
key priority for the ISSC.
3. Research, training and knowledge exchange - The Council’is committed to advance
high-quality social science research across national and regional boundaries; to broaden
inter-disciplinary collaboration among the social sciences; and to promote positive
interactions between the social sciences, the natural sciences and the humanities. As
part of its delivery on those commitments, it will seek to stimulate and support
international innovation in research, training and knowledge exchange. The scientific
programmes of ISSC on poverty, global enviromental change, conflict and peace
research, gender, globalization and democratization, and global social change as well
as summer schools and Prizes in comparative social science research recognize,
protect, promote and transmit cultural diversity and intangible cultural heritage.
4. New technologies and methodologies, that is, harnessing the potential of new
technologies and new methodological developments. The ISSC with representatives
from 22 countries and 3 multi-national organizations, in a meeting in Beijing in June
2007, agreed to establish an International Data Forum through which data resources for
cross-national collaborative research on social scientific issues, including data on
intangible cultural heritage, can be identified.
We actively promote the work of our members – many of whom are directly engaged as
practitioners/advocates (e.g. university professors and researchers) in the protection and
promotion of peace, the environment, human rights, cultural identity, cultural spaces, all
necessary components for the preservation and practice of intangible cultural heritage.
Coopération:
ISSC experience comes mainly through its members, their institutional and individual
members whose activities relevant to the research, preservation, promotion and
transmission of intangible cultural heritage have been funded by ISSC. Lourdes Arizpe,
an anthropologist, then ISSC president and former president of IUAES coordinated the
preparation for Unesco of the Manual on Social Practices, Rituals and Festive Events,
with a team of researchers, themselves, intangible cultural heritage practitioners. The
ISSC participated in the evaluation of candidacies submitted by Unesco Member States
for the first, second and third Proclamation of Masterpieces of Oral and Intangible
Heritage of Humanity. The evaluators consulted were mostly individual members of
ISSC Member Associations and Member Organizations, recognized experts in the
geographical areas and cultural groups concerned.

Date de création: 1997
Budget: U.S.$35000
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship
- other
- 'Lace in Flanders' also promotes lace making as contemporary textile art

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Cataloguing and conservation storage

Pays principaux d'activité:

Allemagne, Belgique, Pays-Bas

Objectifs:
The non profit organisation “Lace in Flanders” (Kant in Vlaanderen) was founded in 1997 with the purpose of safeguarding the craft of needle and bobbin lace making and related techniques. The association has officially been acknowledged by the Flemish Government as a representative for lace and the craft of lace making and as such acts as its spokesperson.
"Lace in Flanders" is an organisation being led by highly motivated volunteers, mainly (but not exclusively) women, driven by a will to preserve this precious and historic tradition.
The Organization takes measures, through formal and informal education, to ensure the continuation and revitalisation of all aspects of lace and lace making, this includes identification, documentation, historical research, storage, preservation, conservation and promotion.
Needle and bobbin lace making, and various related techniques, are traditional crafts which have been passed on from generation to generation. The craft of lace making in Flanders has been constantly recreated by communities and groups in response to their environment, and their historical background, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.
‘Lace in Flanders’ is coordinating, optimising and stimulating many initiatives concerning the endangered intangible cultural heritage of needle- and bobbin lace making and the various related techniques. The organisation encompasses the academies, schools, centres, local organisations, and individuals interested in the traditional craft of lace making and its wide variety of aspects.
The organisation has competence to support the efforts which need to be made regarding the scientific studies of lacemaking and the improvement of the quality of the working techniques. It supports the academies, schools and associations promotes their activities at home and abroad.
“Lace in Flanders” organises exhibitions at home and abroad as well as lace contests for youth and adults for the promotion of lace as a creative skill. It organises workshops and lectures. Studies and research with respect to lace are supported and encouraged. Members and stakeholders are informed through the quarterly bulletin “FILUM”.
Activités:
“Lace in Flanders” (Kant in Vlaanderen) treasures lace and lacemaking as an important intangible cultural heritage for Flanders, Europe and the World. The art of lacemaking is a valued craft with a long and important textile and social history. Starting simultaneously in Flanders and Italy in the early 16th C the craft has been passed down through the generations and has been, and still is constantly updated by designers and lacemakers . Despite industrialisation in the 19th Century this handcraft has spread throughout the world, and is still practised by thousands of lacemakers in many countries.
“Lace in Flanders” encourages and co-ordinates the study and the practice of all types of bobbin and needle lace, both traditional and contemporary. It stimulates contacts between lacemakers in Flanders and abroad in order to maintain and spread the old traditions, and to encourage contemporary creations.
According to its constitution “Lace in Flanders” aims to promote and co-ordinate the study, practice, and technical quality of bobbin and needle lace and related techniques, in both traditional and contemporary art creations.
Workgroups composed of highly motivated volunteers are active for the benefit of “Lace in Flanders”, its membership and stakeholders. To obtain its goals “Lace in Flanders” organises the following activities in both Flanders and abroad, covering a wide variety of topics concerning this valuable craft.
- History of lace and Lacemaking: “Lace in Flanders” maintains contacts with universities, research centres and lace experts in Flanders and abroad , aiming at extensive studies appertaining to lace history, and the spreading of the craft in various regions of the world. Reports of the research are published in a quarterly magazine ‘Filum’ which is sent to members.
The Organisation has a library, for the use of its members and researchers, with a large number of books and magazines relating to lace, lacemaking and other related topics.
- Education and Networking: “Lace in Flanders” is in contact with formal and non-formal educational establishments in order to revitalise the various aspects of the cultural heritage of lace. Lace Organisations are encouraged to provide courses and workshops for both adults and young people in order to spread the knowledge of the various and famous old Flemish lace techniques. Training programs in lace making techniques are organised for teachers, to guarantee the quality of the education provided.
Identification and conservation: many individuals, groups, churches and convents in Flanders own collections of valuable laces. “Lace in Flanders” is making a concerted effort to trace these collections, to support the owners with identification, cataloguing and providing information on storage, conservation and restoration.
- Contemporary Lace: Famous artists in contemporary lace are employed to lead workshops, courses and Lectures. Projects for contemporary lace design are provided to maximize the opportunity for international exchange and collaboration. Exhibitions of new creations are organised and have been staged not only in Belgium, but also in Barcelona, Spain; Kiskunhalas, Hungary; Minsk, Belarus; Vianen, The Netherlands and Cologne, Germany.
- Lace Museum: “Lace in Flanders” is managing its own Lace Museum in Sint-Truiden. The Museum was opened in 1970 in the historical building owned by the Ursaline Sisters. The Sisters have had a tradition of lace education for over a hundred years. In order to continue this tradition, and on request of the sisters “Lace in Flanders” provides lace education and workshops in this historical building. The museums display decorative lace pieces designed and executed by the sisters of the convent during the period of the revivs of lacemaking in the 1960s and 1970s.
- Communication: The journal ‘Filum’ is published four times a year containing many articles about the history of different types of lace and lace in other countries.
Coopération:
“Lace in Flanders” has officially been acknowledged by the Flemisch Government as a representative organisation for the intangible cultural heritage of lace, lace making and related techniques.
Safeguarding programmes are the core business of the organisation. Therefore “Lace in Flanders” co-operates with museums (c), experts (b), national (a), and international (d) organisations.
a) “Lace in Flanders”” operates in close contact with FARO. Flemish interface centre for cultural heritag (FARO. Vlaams steunpunt voor cultureel erfgoed vzw).
“Lace in Flanders” participates in national events such as ‘Erfgoeddag’ (Heritage day)
“Lace in Flanders” collaborates with the education department of the Flemish Government in order to set up programs for lace making courses for teachers in formal and non formal education.
“Lace in Flanders” co-operates with church communities, convents and private collectors of lace and advises them about storage conservation and cataloguing.
“Lace in Flanders” organises demonstrations with practitioners in order to promote the intangible cultural heritage of lace. “Lace in Flanders” organises also seminars for lace schools, organisations, groups and individual practitioners of the craft.
Information and news-letters are sent to stakeholders by e-mail.
b)“Lace in Flanders” has close contacts with experts from lace, textile and fashion museums such as Musea Brugge; Bruges, Vlasmuseum, Kortrijk (Flax museum Courtrai), Lace and Costume Museum, Brussels; MOMU, Antwerp.
c) “Lace in Flanders” has set up projects with museums in Belgium:
- National Flax and Linen Museum
- International Lace Contest for adults: ‘Linum’ 2004
- International Lace Contest for youth : ‘In space’ 2007
- Brugge Museum
- Seminar : Lace History, Lace as inspiration for design
d) “Lace in Flanders” has also set up projects with similar organisations in European Countries:
- Generalitat de Catalunya: Lace exhibition with contemporary lace from artists in Flanders (exchange program with the University of Barcelona)
-“Lace in Flanders” is in contact the centre for needle lace making in Kiskunhallas, Hungary
- LOKK - National Lace Organisation in the Netherlands)
- Forum Alte Spitze - Germany (Forum for Vintage Laces)
- “Lace in Flanders” is in contact with the Catalan Association of Lace makers and aims at organising an exchange program between lace makers of both regions, Flanders and Catalunia.

Date de création: 1992
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Cameroun, Niger, Nigéria, Tchad

Objectifs:
Towards finding solutions to problems relating to culture, environment, oppressions and under development of the Kanuri indigenous people of Africa. To work on cultural preservation indegnious issues as well as promotion tourism through promoting cultural artifacts, sites and the history of the Kanuri community as well as through documentation, research, oral tradition and expressions.
To educate the people of the semi-arid north-east of Nigeria on the implications of desert encroachment and the other environmental hazards that might be detrimental to their society.
To generate and implement short, medium and long term interventions that would address the problems of desertification and other arising environmental threats. To identify and explore un-harnessed environmental resources for the benefit of the society. To liaise and collaborate with relevant government agencies an non-governmental organisations to address the problems of the environment for the benefit of the society.
Activités:
Educating the Kanuri indigenous people towards cultural preservation, desert control, small scale industries, standing for their rights and the way forward in reviving their pastoral economy that is facing lots of challenges (including natural and man made). We just participated at the intergouvernmental committee on intellectual property genetic resources and folklore between 29th june - 3rd july 2009 organised by WIPO in Geneva Switzerland. The organisation has over fifty members, who are working on various experiences. Kanuri Development Association is a member of the United Nations conference of Non Governmental Organisation
Coopération:
As part of our objective on cultural preservation and promotion we recently sponsored a research work on the archeology of Africa which waw published in the international journal of nautical archeology in 2008 and we are also having series of plans towards promotion the career culture through expressions and traditions

Date de création: 1980
Domaine(s):

- performing arts
- traditional craftsmanship

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde, Mongolie, Viet Nam

Objectifs:
The Korea Cultural Heritage Foundation (CHF) was established, aimed at protecting and preserving Korea’s cultural properties, creatively enhancing, developing and utilizing its traditional lifestyle culture, and thereby promote the preservation and safeguarding of the national culture as well as the culture in Asia.
Since 1980, CHF has executed various projects that involve traditional ceremonies, arts, crafts, foods, performances, and exhibitions; diverse cultural experiences; educational and publishing activities; and tourism products, including the traditional wedding experience. CHF has conducted research projects involving excavation of cultural properties in order to continue and distribute the traditional culture of Korea as
widely as possible. Moreover, CHF has involved a number of projects for safeguarding of intangible cultural heritage among the Asia-Pacific countries.
Coopération:
Promotion and Enhancement:
1- Living Human Treasures' showcases and Permanent Exhibitions
The Living Human Treasures' showcase in particular craft work, organized by CHF is held annually every May to June by inviting elderly holders of Intangible Cultural Properties (Living Human Treasure), in order to display their art work, and learn about the skill lineage of a given intangible cultural heritage. The permanent exhibitions designed by CHF is held all the year round at the Important Intangible Cultural Heritage Transmitters' Centre, to encourage and promote the creative activities of the ICH holders, inform the public about Korea’s Intangible Cultural Properties system by highlighting government-designated Important Intangible Cultural Properties, and expand the traditional craftwork base through experience programs for
elementary, middle, and high school students.
2- Regional Intangible Cultural Heritage Events
CHF organizes the intangible cultural heritage events in the local provinces of Korea to increase interest in Important Intangible Cultural Properties among local residents and thereby contribute to safeguarding of national culture, and to display the class and excellence of traditional Korean culture more widely.
3- Pung-ryu yard playing
The traditional art performances of intangible cultural heritage staged in the Important Cultural Heritage Transmitters' Centre, Korea Cultural House and Korea House are designed to preserve and promote our traditional culture every Friday all year round.

Transmission and formal or non-formal education
1- Field Investigation of Cultural Heritage
The program ' Field Investigation of Cultural Heritage' was initiated in 1987 in order to provide the general public chances to be interested in the cultural heritage and to have better understanding in the Korean culture. The members of Cultural Properties Committee designated by Cultural Heritage Administration of Korea provide guides and thorough lectures.
2- Korean Traditional Craft Architecture school
The Craft Architecture school was founded in 1995, aimed at education and transmission of skills and techniques of traditional handcraft art as well as fostering future generation. Currently there are about 14 courses such as Chimseon (needlework), Daemok (large scale carpentry), and dancheong (Architectural Colour decoration) so on. These courses are taught by experts who are nationally, municipally, or provincially
designated 'Living Human Treasures' in Korea.

Revitalization
1- Re-enactment of Royal Court Ceremonies
CHF has opened re-enacted events for the general public according to 5 categorized royal court ceremonies such as ceremonies for Opening and Closing the Royal Palace Gates and the Gate Guards Changing Shifts, the Royal Banquet for celebration the Joseon king Teongjo's 50th birthday, the Royal Wedding Ceremony and the Representation of the King's Enthronement Ceremony since 2002.

Date de création: 2002
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- revitalization

Pays principaux d'activité:

Turquie

Objectifs:
Article 3 and 4 of the By laws Foundatıon
The Foundation's purpose:
Article 3 - Investigation of Turkey's cultural richness, documentation, archiving and informing the public through various publications / the events are available to promote. Similar studies done on people, institutions, organizations and private entities such as national or international cooperation in the size of the time.
Foundation’s job:
Article 4 - to achieve the objectives of the Foundation inside and outside Turkey:
• does cultural researches. Collects written, visual and ethnographic materials. Creates archive or information data bank. Presents this accumulation in visual and digital environment. Makes all archived documents, buying-selling and rent operations. Makes press publication activities. Prepares
all kinds of cultural contents, audio (music) and visual (film) tapes and CD s. Cooperates with the other individuals and institutions who carries out this type of work. Develops and implements common projects (associations, foundations, universities, research center, etc..)
• Organizes scientific meetings, competitions, exhibitions, shows and similar events. Participates in similar meetings held outside of the foundation. Sets up science boards and expertise commissions. Organizes cultural activities like commemoration days, ceremonies, festivals, fairs, etc..
• Can provides scholarships to researchers, scientists and experts( domestic and overseas training, master, phd , etc.. )
• Presents the research datas, cultural heritages, through publication like newspapers, magazines, books, posters, brochures, etc.., to the information of the public.
• Promotes the Handicrafts, cuisine, theater, dance, music, etc.. as tourism concepts

Additional information:

Foundation of Cultural Researches, within the scope of its establishment, performs social works in order to constitute heritage awareness at a social level and take steps to protect the traditional values, which are exposed to a swift extinction due to the popular culture. Due to these facts, the Foundation continues to work ceaselessly since 2002.

Foundation of Cultural Researches collects its objectives of establishment under three titles. One of them is to carry out studies intending to take inventory of and archive Turkey’s intangible cultural values. Those studies are carried out by professional Folklore Researchers. Data is analyzed by professional academicians.

Secondly, based on the gathered materials the Foundation performs activities via publishing and promoting in order to keep the existent cultural values alive and pass them onto the next generations. Many activities such as rituals, children games – toys, national and international conferences, exhibitions, displays and festivals based on the culinary culture are performed intending to spread the intangible cultural heritage consciousness to all segments of society. Along with these activities, social networking via internet is provided to reach the target group.

Thirdly, Foundation of Cultural Researches establishes cultural bridges in order to develop mutual projects with the national and international institutions that perform similar studies to the Foundation; and to spread our heritage – worthy cultural richness to a wider group of people. (“Common heritage” themed projects were prepared in concurrence with Bulgaria, Greece and Bosnia – Herzegovina in 2009 and 2010. Interviews continue.)

Foundation of Cultural Researches specified its objectives in the deed of foundation (Article 3 and 4)

“The Foundation makes cultural researches, constitutes a data bank, an archive by collecting visual, documented and ethnographic materials and presents those accumulations via visual and digital means. It is involved in the press; prepares culture themed audible (music) and visual (film) cassettes and CDs. It cooperates and develops mutual projects with the institutions, which perform similar studies, such as natural and juridical people, associations, foundations, universities, institutes, academies. It organizes relevant scientific meetings, competitions, exhibitions, etc. and also participates in similar meetings organized apart from the Foundation. It establishes councils of science, commissions of specialization; organizes cultural activities such as memorial days, ceremonies, festivals, fairs and so on. It brings gathered cultural accumulations to the public’s attention via newspapers, magazines, books, posters and booklets.

Activités:
Culinary Culture Program (Research / Publication and Promotion Project)

• Hamsiname Broadcasting and Introduction Project, TR0401.06.01/BSGS/007 / Promotion of Cultural Rights ın Turkey, Broadcasting Support Grant Scheme (BSGS) (2007). This Project Was Supported by European Union.
• Publication and Introduction Project for Research on Georgian Cuisine Culture in Georgian, TR0401.06.02/CISGS/004 / Promotion of Cultural Rights ın Turkey, cultural initiatives Support Grant Scheme Programme (CISGS) / (2007). This Project Was Supported by European Union.
• Asure Documentary Movie Project (2008-2012) is continuing. (Kadiries and Armenians documentary movie was shot/ Others are continuing )
• Articles about Turkish cuisine for Kamil Koc Bus Monthly Magazine (April 2007- December 2008)

Rituals program (research / publication and promotion project)

• Forest of the children (Kure Mountains National Park / Natural and Cultural Life) Research Publication and Promotion Project (2002 - 2010)
• Natural and Cultural Heritage Dia Shows / LÖSEV Foundation / For Children with Leukemia (2002-2003 / one day a week during 3 months)
• Rituel / Anatolian Heritage / Research Publication and Promotion Project (2002 - 2012)
• Anatolia Tomb Culture / Research Publication and Promotion Project (2008 - 2012)

Toyhouse Program (Research / Publication and Promotion Project)

• Anatolia Toys Culture, Research and Publication Project (2002 / 2010)
• A Universal Toy; Spinning top, Research and Publication Project (2002 - 2011)
• A radio speech about "Traditional Children Toys" (2002)
• A "Traditional Toys" presentation in Ozel Bilim College (2005)
• A consultancy for " Toy Language" documentary , TRT Istanbul Television (2005-2006)
• A "Traditional Toys" Seminar for Gazi University, Department of Physical Education and Sport Master Students (2006)
• Anatolia Toy Culture / Multivision Presentation (2005 / 2006 / 2007 / 2008 / 2009)
• A "Traditional Toys" Dia Show in Museum of Anatolian Civilizations (2008)
• A consultancy for " Toy World " documentary (Ceren Gogus / Program Coordinator – Iz TV, March 2008)
• Articles about toys for Kamil Koc Bus Monthly Magazine (April 2007-July 2008)
• Spinning top Festival in Buyuk College (2008)
• For Children's Museum Association A prensentation about "Traditional Toys" and toy work department (2009)
• Datça Toy Festival (28 May 2006 - 2007) (KAV joined as the audience in 2008 and 2009 festival)
• For Children's Museum Association A prensentation about "Traditional Toys" and toy work department (January 2009)

Archive - Document

• Toy Collection : An Archive about Traditional Anatolian Toys (Toy Program) 245 real objects were collected in Turkey. They are different sizes and wood, metal, bone, feathers, glass, leather, textiles, hair, etc.. and they were made from Natural and processed materials. The spinning top, some part of toy archive, are the richest collection of Turkey and it is the unique collection among the world.
• Amulet Collection : An Archive about Traditional Anatolian Amulets (Ritual Program) 115 real objects were collected in Turkey. They are different sizes and wood, metal, bone, feathers, glass, leather, textiles, hair, etc.. and they were made from Natural and processed materials.
• Photograph : More than 100.000 dia-positive (Professional reversal film) and digital (RAW format) photos. This documents, negative film, framed dia-positive are registered in digital media.
• Video : 360 Hour Video Recording (720 * 576 / Pal / Documentary) is registered in casette and digital media.
• Audio : 240 Hour Voice Recording (Compilation / Culinary Culture - Toy Culture - Ritual) Casette/ Tape and Digital media is registered..

Additional information:

Activities of the Foundation of Cultural Research are performed under three main titles. These are: 1) Programme of Rituals, 2) Programme of Culinary Culture, 3) Programme of Toy House.

Activities that are performed under the Programme of Rituals:
Studies are being done in the areas that involve transitional periods of life (such as birth, marriage, and death), seasonal ceremonies, celebrations, festivals, folkloric beliefs, and similar implementations. This programme is managed by Folklore Researcher Doğanay Çevik.

Anatolian Grave Culture:
Project team: Associate Prof. Suavi Aydın, Kudret Emiroğlu and Doğanay Çevik.
Searching and taking inventory of the footprints of Anatolian traditional life in order to pass them on to the next generations are the primal level of this project. At the second level, it is planned to convert this documented research into a publication. This project started in 2002.

Multivision presentation titled “Ritual”: It is the photographical presentation of the rituals related to the Anatolian culture. Those photos were presented in Germany (University of Münster) and Holland (Eindhoven) for the first time. Then, it was presented in Ankara National Photography Days.

“Aşure”, a Documentary Film Project: In our point of view, aşure (wheat pudding with dried nuts and fruits) is one the most important contacts of Anatolia’s intangible cultural heritage. The shooting of this documentary film involving aşure ritual started in 2008.It still continues.

Activities that are performed under the Programme of Culinary Culture:

Food and beverage, required materials and equipment, techniques for their preparation; eating manners, special days, celebrations, ceremonies and similar implementations and beliefs that develop around the kitchen are studied under the Programme of Culinary Culture. This programme is managed by Folklore Researcher (department chief) Nihal Kadıoğlu Çevik.

A programme which is referenced by UNESCO, titled “Protection and Support of Cultural Rights” was carried out by European Union in 2006 – 2007. Under the programme regarding the protection of local languages, there had been a series of projects that were carried out in Turkey. Two of those projects were managed by the Foundation of Cultural Research.

One of them was a project titled “Georgian Culinary Culture”. This project was coordinated by Serpil Kadıoğlu, a volunteer member of the Foundation. Nihal Kadıoğlu Çevik, the coordinator of the Programme of Culinary Culture, edited the Georgian Culinary Culture book. The other project members were Göksun Yazıcı, İlker Özdemir, Senem Doğanoğlu, Yücel Demir. This project intended to search Georgian Language spoken in the kitchen and publish it. The formal code of this project is TR0401.06.02/CISGS/004 / (additional information: Georgian Culinary Culture book was sent to UNESCO at our first application)

Our second European Union assisted project is “Hamsiname Publishing and Promotion Project”. This project was managed by Bedii Engin Koş, a volunteer member of the Foundation. The other project members were Çağatay Engin Şahin, Emine Sevde Yazıcı, Cihan Yılmaz, Pınar Tavukçu, Şükrü Oktay Şahın, Ömer Usta, Soner Özdemir. This project is also a UNESCO referenced (UNESCO / Safeguarding endangered languages / References / Record Corresponding ISO 639-3 code(s): lzz number: 01372) documentary film in Laz language. The formal code of this project is TR 04 01.06.01 / BSGS / 007 (additional information: This documentary film was sent to UNESCO at our first application)

Another project that had been carried out within this documentary film project was the research of kitchen cultures related to the fishery in the traditional life of the people residing in the North of Turkey (Black Sea Region). After the research had been done by the Foundation, the book titled “Hamsi Kurban O Göze” was prepared and published by Heyamola Publishing (2008). Writers of the book are Nihal Kadıoğlu Çevik, Kudret Emiroğlu and Prof. Dr. Cemal Saydam.

Activities that are performed under the Programme of Toy House:

The primal mission of this programme is to do studies for establishing a national based “toy museum” and create projects in order to pass folkloric toys, as indicated in the context of UNESCO Intangible Cultural Heritage, to the next generations. This programme is managed by Folklore Researcher Ceren Göğüş.

Studies, such as making a research, taking inventory, collecting the samples of traditionally produced toys in Anatolia, and bringing those data to the public’s attention via publishing are being done since 2002. A book titled “Anatolia’s Toy Culture” is being prepared regarding those studies. The writers of the book are Associate Prof. Dr. Hülya Tezcan, Assistant Prof. Dr. Tosun Yalçınkaya, Cumhur Sönmez, Ömür Tufan and Ceren Göğüş.

Studies concerning creating awareness among the media, NGOs and educational institutions about the Anatolian toys, as intangible cultural heritage values, continue. Some of the institutions which we provided consultancy service and in which conferences and work – shops were organized are: Büyük Kolej, Özel Bilim Koleji, Gazi University, Anatolian Civilizations Museum, “Association of Establishing Child Museums, Kamil Koç magazine, TRT (Turkish Radio and Television Corporation) İstanbul, İz TV, etc...

By means of the Programme of Toy House we continue to study on creating awareness among children via festivals. “Datça Toy Festival”, which was prepared by our Foundation and organized by the Municipality of Datça in the years 2006 – 2007, was the first in its field in Turkey.

A Toy Exhibition was held in 2010 within the frame of International Children Theatre Festival in Ankara. At the end of this year, an exhibition as part of the game and toy symposium organized by the Ministry of Culture and Tourism, General Directorate of Research and Education, will be held. This exhibition provides children to play with the toys that are produced in the work – shops.
Coopération:
Projects and connectted communities

• Asure Documentary Movie Project / Kadiries and Caferians and Alevis
• Hamsiname Broadcasting and Introduction Project / Laz
• Publication and Introduction Project for Research on Georgian Cuisine Culture in Georgian Project / Georgian
• Rituel / Anatolian Heritage / Research Publication and Promotion Project / An Exhibition - performances and published work to promote unique cultural identity and develop cultural dialogue about Alevis - Bektasi, Caferians and Jews, Armenians, Nusayri and Syriacs, the Mevlevi, like Kadiri groups..

Additional information:

We can define the cooperation groups as women, children and elders as part of the studies carried out under the Programmes of Ritual, Culinary Culture and Toy House, which are within the frame of the Foundation of Cultural Research study programme. We cooperate with public institutions, local municipalities, academic institutions, NGOs and press (magazines, TV, radio) when organizing projects and activities within the scope of the mentioned programmes. This cooperation is made by expert participation within the frame of taking inventory of the intangible cultural heritage values.

The Foundation cooperates with children aged 6 to 10 for the Toy Culture Programme, women aged 40 to 60 for the Culinary Culture Programme and elders involving religious people for the Ritual Programme, in the projects prepared and carried out by the Foundation. This group consisting of women, children and elders are the sources that are in the traditional culture and the makers and the conveyers of the intangible cultural heritage products. We prefer to organize mutual activities and cooperate with the public institutions, local municipalities and NGOs for activities like festivals, exhibitions, etc.

Along with these national projects of the Foundation, it endeavours to broaden the scope of cooperation by preparing projects with international partners. The Foundation continues for the last five years to take steps to create mutual projects with Turkey’s neighbouring countries.

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- théories et pratiques de patrimonialisations, politiques du patrimoine culturel immatériel et du développement durable

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- pratiques de sensibilisation et de mise en valeur du patrimoine culturel immatériel par différentes formes de médiation (centres d'interprétation, expositions muséales, ateliers, écoles d'été, sites web, applications mobiles, etc.)

Pays principaux d'activité:

Canada

Objectifs:
L'Association canadienne d'ethnologie et de folklore (ACEF) a pour objet de promouvoir
l'enseignement, Ia recherche, Ia pratique et Ia diffusion des connaissances en ethnologie et en
folklore au Canada (voir l'acte constitutif de I'ACEF ci-joint, point 8b). Les objectifs de I'ACEF
rejoignent en tout point les objectifs et l'esprit de Ia Convention pour Ia sauvegarde du patrimoine
culture! immaterial de 2003 de I'UNESCO. En effet, les champs de l'ethnologie (terme utilisé en
français) et du folklore (terme utilise en anglais au Canada) renferment les traditions orales, les
arts du spectacle, les pratiques rituelles et festives, les connaissances et pratiques sur Ia nature et
l'univers, les savoir-faire lies a aux pratiques artisanales et artistiques populaires. Elle vise, plus
particulierement, à encourager l'excellence dans l'identification, Ia documentation, Ia recherche, Ia
preservation, Ia transmission, Ia promotion et Ia mise en valeur du patrimoine culturel immaterial
(PCI).
Dans Ia plupart des universites et organismes patrimoniaux membres de I'ACEF, le domaine de
l'ethnologie et du folklore est divise en trois sous-champs, soit les traditions orales, les pratiques
coutumieres et Ia culture materielle. Les cours et les seminaires de 1 er, de 2e et de 3e cycles
enseignes dans les universites canadiennes s'inscrivent dans ces champs desormais identifies
comme ceux du PCI. Les membres de I'ACEF ont toujours eu un interet prononce pour
l'inventorisation du patrimoine culture! immaterial, par Ia constitution, Ia conservation et Ia diffusion
d'archives orales. Par exemple, plusieurs universites membres de I'ACEF dispensent des
enseignements en inventorisation depuis les annees 1950 et possedent des archives orales
remontant aux annees 1940. La notion meme de patrimoine immaterial preoccupe les membres de
I'ACEF depuis longtemps puisqu'a Ia reunion annuelle de 1988 ils avaient organise une seance
pleniere sur le patrimoine « intangible » (le mot utilise a l'epoque) avec Ia participation de plusieurs
chercheurs du American Folklife Centre de Washington (Alan Jabbour, Peggy Bugler, David
Taylor, Michael Taft). II avait ete question de reflechir aux potentialites de ce concept, nouveau a
l'epoque, pour le developpement de Ia discipline et, plus particulierement, pour accroltre Ia
participation des communautes dans Ia recherche scientifique. La recherche-action avait ete
envisagee comme une fa~on d'assurer un retour de !'information recueillie vers les porteurs de
tradition par Ia preparation d'expositions, Ia redaction d'articles dans les journaux locaux, Ia
participation a des emissions de radio et de television et !'organisation d'ateliers de transmission
des pratiques menacees. Depuis lors, Ia sauvegarde du patrimoine intangible et Ia participation
des communautes ont toujours ete des preoccupations de I'ACEF.
Activités:
Fondée en 1979, I'ACEF est Ia principale et Ia seule association nationale à but non lucratif au
Canada qui reg oupe des enseignants, des chercheurs, des professionnels et des praticiens du
PCI, de langue anglaise et française, de toutes les provinces et de tous les territoires du pays. Elle
est reconnue et soutenue par le gouvernement du Canada, grâce à une subvention de
fonctionnement reçue annuellement depuis sa fondation du Conseil des sciences humaines et
sociales du Canada. La subvention lui permet de financer ses opérations courantes (secrétariat,
envois postaux, téléphone, frais de deplacement des membres du bureau de direction, etc.) et
d'organiser chaque année un colloque. Elle est l'équivalent de Ia American Folklore Society
aux Etats-Unis et de Ia Société internationale d'ethnologie et de folklore en Europe de I'Ouest.
L'ACEF regroupe environ 350 membres individuels et institutionnels provenant de toutes les
provinces et territoires du Canada (voir liste ci-joint, point 8a). Depuis ses origines, l'Association
est composée d'enseignants et de chercheurs dans le domaine de l'ethnologie et du folklore, mais
aussi de professionnels (muséologues, médiateurs, gestionnaires, fonctionnaires) et de praticiens
(musiciens, conteurs, artisans, artistes, etc.). La plupart des membres de l'association, qu 'ils soient
enseignants, chercheurs, professionnels ou praticiens, possèdent une formation de 1er cycle,
souvent de 2e et 3e cycles, dans les departements d'ethnologie et de folklore d'universités
canadiennes, principalement de I'Université Laval, Memorial University of Newfoundland, Cape
Breton University, University of Winnipeg, I'Universite de Sudbury, I'Université Sainte-Anne et
I'Université de Moncton. ·
L'ACEF organise chaque année un colloque dans differentes villes et régions du Canada et
publie une revue biannuelle, Ethnologies, qui porte sur les differents domaines de l'ethnologie et
du folklore. Elle possède une cote A et reçoit un soutien financier du Conseil des sciences
humaines et sociales du Canada et du Fonds de recherche du Quebec, sociétés et cultures. En
2007, I'ACEF a organisé à Québec sa reunion annuelle, conjointement avec Ia American Folklore
Society, spécifiquement sur le thème des enjeux du patrimoine culturel immateriel. Ce colloque
international qui a reuni plus de 800 personnes de l'Amerique du Nord et de I'Europe a largement
contribué à sensibiliser les chercheurs et les décideurs politiques à l'intérêt du PCI, et plus
particulièrement, à l'élaboration d'une politique du PCI par Ia province de Terre-Neuve en 2009 et
a l'intégration du PCI dans Ia nouvelle loi de Ia province du Quebec sur le patrimoine, adoptée en
2012. Depuis lors, il y a chaque année au colloque de I'ACEF des séances et des
communications individuelles qui traitent des questions directement liées au PCI, comme les
pratiques d'inventorisation, Ia participation des communautés à Ia sauvegarde, les effets de
l'inscription sur les listes, l'usage du PCI dans les politiques du developpement durable,
l'exploitation des nouvelles technologies dans Ia transmission et Ia diffusion du PCI, les impacts du
tourisme sur le PCI, etc. D'ailleurs, le prochain numéro de Ia revue Ethnologies est consacré
exclusivement au thème des politiques et des pratiques du patrimoine culturel immatériel. Ce
numéro double regroupe 19 articles de spécialistes canadiens mais aussi internationaux sur Ia
question, notamment américains, français, anglais, suisses, islandais, brésiliens et espagnols (vol.
36, nos. 1-2 : http://www.ethnologies.ulaval.ca). Bilingue (anglais-français), Ia revue est publiée en
format papier et en version électronique. La version électronique est diffusée par Ia plateforme
Erudit indexée par Google et Google Scholar. Elle est egalement repertoriée par neuf autres
organismes d'indexation au Canada, aux Etats-Unis, en France, en Allemagne et en Ecosse. La
revue reçoit en moyenne plus de 2 600 visiteurs par mois qui consultent plus de 8 300
pages, ce qui équivaut à près de 100 000 visites par année. La revue Ethnologies a un impact
majeur sur Ia réflexion critique, les politiques et les pratiques du PCI au Canada. Seule revue
d'ethnologie au pays, elle est lue et utilisée par tous les chercheurs dans Ia discipline (professeurs,
etudiants, professionnels et praticiens). Le nombre des abonnés électroniques ne cesse
d'augmenter et de s'elargir depuis 5 ou 6 années. Ajoutons qu'un membre de I'ACEF a developpé,
avec l'appui financier de Ia Ville de Quebec, une application mobile, Decouvrir Québec, qui met en
valeur le PCI de deux quartiers historiques de Ia Ville, le Vieux-Quebec et le Quartier Saint-Roch.
Cette application novatrice a été reconnue par plusieurs prix nationaux et un prix international
(http://www. viii e. quebec. qc. ca/cu lture patri moine/patrimoine/decouvrir quebec/).
Pour toutes ces raisons, I'ACEF est un organisme pérenne et reconnu dans le domaine du PC I,
possedant les compétences et les qualifications nécessaires pour agir comme organisation non
gouvernementale dans le cadre de Ia Convention pour Ia sauvegarde du patrimoine culturel
immatériel de I'UNESCO.
Coopération:
L'ACEF entretient une longue tradition de collaboration et coopération avec les communautés de
porteurs de traditions. Tout d'abord, I'ACEF a toujours encouragé les professionnels et les
praticiens du PCI à devenir membre et à participer à ses activités. Près du quart des membres
actuels de l'Association sont des praticiens. Si I'ACEF est encore composée majoritairement ·
d'enseignants et de chercheurs, les praticiens participent activement aux réunions annuelles et ils
publient des articles et des comptes-rendus dans sa revue. Ensuite, comme indiqué dans le point
5 du présent formulaire, depuis ses débuts, les chercheurs de I'ACEF ont toujours été soucieux du
retour des résultats de leurs recherches vers les porteurs de traditions. La recherche-action a été
une des premières mesures envisagées pour assurer ce retour de l'information recueillie vers les
communautés par Ia préparation d'expositions, Ia rédaction d'articles dans les journaux locaux, Ia
participation à des émissions de radio et de télévision et l'organisation d'ateliers de transmission
des pratiques menacées.
Au cours des dernières années d'autres mesures ont permis d'accroître encore davantage cette
participation. Des écoles d'été et des ateliers de formation ont été organises dans différentes
régions du Canada pour renforcer les capacités des communautés en matière de connaissances
des politiques du patrimoine, d'inventorisation du PCI, d'inscription d'éléments sur les listes, de
mises en valeur et de diffusion du PCI par le biais de l'organisation d'ateliers, de foires et
d'expositions. Des efforts importants ont été faits pour numériser et mettre en ligne des fonds
entiers d'archives du PCI afin que les porteurs de traditions puissent y avoir facilement accès via le
Web. Des membres de I'ACEF ont réalisé avec les provinces de Terre-Neuve et du Québec des
inventaires multimédia en ligne du PCI (voir par exemple: www.irepi.ulaval.ca). L'ACEF a fait
également des démarches pour encourager les grands musées canadiens a contribuer a
!'identification, Ia documentation, Ia recherche, Ia préservation, Ia transmission, Ia promotion et Ia
mise en valeur du patrimoine culture! immatériel (PCI). Ainsi, l'Association des Musées canadiens
a organisé son colloque annuel de 2010 à Saint-Jean-de-Terre-Neuve sur le thème de Ia
sauvegarde du PCI et les musées. La Société des musées québécois a fait de même a son
colloque annuel de 2010 et I' Association des musées de I' Alberta a suivi en 2013. Pour donner
suite aux nombreuses idées nouvelles générées lors de ces rencontres sur Ia mise en valeur
muséale du PCI, le Musée de Ia civilisation du Québec a préparé une exposition multimédia très
interactive et participative en ligne sur le PCI par le biais du patrimoine alimentaire en 2013, avec
Ia participation d'un membre de I'ACEF. Cette exposition intitulée, Manger ensemble, permet aux
porteurs de traditions culinaires de contribuer a l'exposition en déposant des recettes
traditionnelles sur le site, en faisant des commentaires et en participant à un forum de discussion
sur Ia cuisine traditionnelle (http://mangerensemble.mcq.org).